The Ukrainian Museum

Katya Ostapenko

Jurij Solovij: Abstracting Time

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16 May – 17 August 2025

The first comprehensive survey exhibition of Ukrainian artist Jurij Solovij at the Ukrainian Museum in New York presents a significant opportunity to explore the multifaceted contributions of a distinguished artist who adeptly navigated the complexities of culture and identity through his work. Born in Ukraine in 1921 and having escaped the ravages of World War II, Solovij immigrated to the United States in 1952, bringing with him a rich cultural heritage that would profoundly influence his artistic expression.

This exhibition highlights a curated selection of Solovij’s paintings and works on paper, showcasing his mastery of color and form, which reflect both his Ukrainian roots and his experiences as an émigré. In addition to his paintings and drawings, the exhibition will also feature Solovij’s graphic design work, including book covers, advertisements, and wallpaper designs, illuminating his versatility and innovative approach towards visual communication.

Through this comprehensive survey with works from 1952 until his death in 2007, visitors will gain insight into Solovij’s unique ability to fuse traditional Ukrainian motifs with contemporary expressionistic elements. The exhibition not only affirms his place within the broader canon of Ukrainian art but also underscores the resilience of cultural identity in the diaspora. Ultimately, this showcase at the Ukrainian Museum serves as both a celebration of Solovij’s artistic legacy and an invitation to engage with the rich narratives of Ukrainian history.

PYSANKA: THE UKRAINIAN EASTER EGG

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April 2

Traditional Ukrainian folk life was filled with rituals considered necessary for everyone’s well-being. An important aspect of these rituals was the creation of items embodying talismanic and protective powers. Among such articles – created by hand under propitious, ritualistic conditions – the pysanka (Easter egg) and the rushnyk (ritual cloth) are of greatest importance; to this day, they continue to play a significant role in Ukrainian mores.

Foremost among the many symbolic meanings and ritualistic uses of these items is the concept of the mystery of life – its creation, resurrection, and continuity. The pysanka traditionally is made at the time when nature is about to be reborn or resurrected – in the spring. Creating a pysanka in springtime means acting in concert with nature, working in harmony with it, and thus aiding and strengthening it in its attempt to resurrect life. In Ukrainian tradition, being in tune with nature, through the enactment of various rituals, has always been considered essential for the well-being of the humanity.

A rushnyk traditionally is made every time a child is born; additional rushnyky are created for each auspicious occasion as the child matures and goes through life’s various rites of passage. The intricate designs incorporated into the rushnyk by the mother for her child, or by the young girl for her beloved, for her future home, or for herself, are the magical, potent symbols of life and wishes for a productive future, good fortune, and happiness. In Ukrainian tradition, to be without one’s ritual cloth is to be without one’s shadow, without protection, without guidance, without the memory of one’s past, or without visions and aspirations for one’s future.

Ange Leccia: Ghosts of war

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6 February 2025 – 27 April 2025

Ange Leccia, a renowned figure in contemporary video and installation art, explores themes of memory, place, and the interplay of time and perception. His work challenges viewers to reconsider how images shape reality, a perspective that gains profound relevance in the context of the ongoing war in Ukraine.


Leccia’s layered imagery and evocative soundscapes immerse audiences in sensory experiences that transcend traditional narratives. This resonates deeply with the visualization of war in Ukraine, where documenting destruction and cultural loss evolves into a powerful exploration of human resilience and memory. By blurring the lines between reality and imagination, Leccia invites reflection on history and its multifaceted narratives. In Ukraine, his work mirrors the complexities of a conflict that challenges official portrayals, transforming viewers into witnesses of a world in turmoil. His fluid visuals evoke the fragility of peace and the enduring strength of the human spirit.


Leccia’s focus on landscapes also highlights the shifting identities of war-torn regions. As military conflict alters physical, cultural, and emotional landscapes, his art becomes a poignant meditation on the loss of spaces and identities tied to memory.


Through his innovative approach to time, memory, and identity, Leccia’s work offers a vital lens for engaging with the ongoing war in Ukraine. His art serves as both documentation and reflection, underscoring the essential role of creativity in moments of crisis.

Leccia’s work has been exhibited worldwide, including at the Musée d’Art Moderne de la Ville de Paris, the Centre Georges Pompidou, the Guggenheim Museum, Documenta in Germany, the Seibu Museum in Tokyo, and the Hiroshima Art Museum. 

Village to Modern

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16 May – 17 August 2025

The influence of Ukrainian folk art on Ukrainian modernism in the early 20th century was profound and far-reaching. With its vibrant colors, geometric patterns, and unique symbols, Ukrainian folk art played a significant role in shaping the artistic movements of the early 20th century, particularly the work of many Ukrainian artists. 

The avant-garde artists of the early 20th century sought to break away from traditional artistic conventions and explore new forms of expression. They were inspired by the simplicity and authenticity of Ukrainian folk art, which had its creative roots in domestic settings within small villages across the country and was seen as a reflection of the soul of the Ukrainian people. Folk art’s bright colors and bold patterns influenced avant-garde artists to experiment with new techniques and styles, leading to the development of innovative and groundbreaking artworks.

One of the key figures in the Ukrainian avant-garde movement was Kazimir Malevich, a painter and art theorist who is best known for his pioneering work in abstract art. Malevich was deeply influenced by Ukrainian folk art, particularly the traditional embroideries and textiles that he encountered in his homeland. He incorporated elements of folk art into his own work, creating abstract compositions that were both avant-garde and rooted in Ukrainian artistic traditions.

Another artist who was influenced by Ukrainian folk art was Alexandra Exter, a painter and designer who was renowned for her avant-garde theater sets and costumes. Exter drew inspiration from Ukrainian folk motifs and symbols, incorporating them into her avant-garde designs to create visually striking and innovative works of art.

The impact of Ukrainian folk art resonated across all the major cities of Ukraine, including Kharkiv, where artist Vasyl Yermylov used the iconography and many of the hand-crafted objects as a basis for his work — both art and graphic design. He instilled his theories and influences in students at the National Art Institute, where he taught for many years. This made Kharkiv a leading design epicenter for the country.

The influence of Ukrainian folk art on the Ukrainian avant-garde in the early 20th century was transformative, shaping the development of new artistic movements and pushing the boundaries of artistic expression, inspiring avant-garde artists to create innovative and groundbreaking works that continue to resonate to this day.

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