Louise Nevelson, "Sky Cathedral," 1957. Painted wood, 57 x 149 x 16 inches. San José Museum of Art. Gift of Beverly and Peter Lipman, 2010.16. Photo by Douglas Sandberg

In the 1950s, Louise Nevelson pushed unorthodox use of material and form to include light and shadow in the creation of large-scale sculptural environments in “a search for continuity between beings, things, and spaces.” At that time, the artist also developed a flamboyant and grandiose persona—jet-black eyelash extensions, colorful coats, and bold jewelry—that reflected the enigma and complexity of her sculptures.

Narbut

17. Alla Gorska Livoruch Pid Chas Podorozhi UkraїNoyu

2. Viktor Zareczkij I Alla Gorska V Hudozhnij Majsterni Poch. 1960 H Rr. 1

Alla Gorska at work on the mosaic scaffolding

Vasyl Parakhin Alla Horska Hryhoriy Synytsia Viktor Zaretsky — Near the "Prometheus" mosaic.

Alla Gorska on the scaffolding of the mosaic

Alla Horska, Hryhoriy Synytsia, Vasyl Stus, Viktor Zaretsky

All Gorska

Nadiyka Hryhorivska Ivan Drach Alla Horska during a trip to Ukraine

20. Alla Gorska Z Druzyami Shistdesyatnikami U Kremeneczi 1963 R

Mykola Glushchenko and Volodymyr Vynnychenko

Photo of Alla Horska, end of the 1940s, Odesa, Ukraine. Ukrainian Unofficial.

Living Echo of the Cossack Elite: Georgiy Narbut in Paraska Apostol’s Kontusz with Kelep and Colonel MiloradovychIn the photograph, Georgiy Narbut stands in the Cossack hall of the Tarnovsky Museum (now a room of the Chernihiv Regional Library for Youth), fully immersed in a historical Ukrainian image. He is dressed in the kontusz of Paraska Apostol, daughter of Hetman Danylo Apostol, holding a kelep in his right hand, while to his right stands Colonel Mykhailo “Cannon” Miloradovych. This staged yet documentary scene shows Narbut not just studying Cossack-era artifacts, but literally wearing them, turning himself into a living embodiment of the Ukrainian noble-Cossack past.

How mice buried a cat

Yakiv Hnizdovsky painting "The Wanderers", 1948

Slavko Nowycki (1934—2019)

Futurist David Burliuk

David Burliuk in Japan

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Portrait of the American sculptor Louise Nevelson, taken by the celebrated fashion and portrait photographer Richard Avedon. The image was captured in New York in 1975.

Band New Order performing live in New York in 1981 at the Ukrainian National HomeA New Beginning: This performance was part of New Order’s first U.S. tour, staged a little over a year after Joy Division singer Ian Curtis’s death. It marked a crucial step in the band’s transition and the beginning of their effort to define an identity separate from their previous group. Musical Evolution: On this tour, New Order moved beyond Joy Division’s post‑punk austerity, embracing synthesizers and propulsive rhythms. In New York they unveiled an early, unreleased ten‑minute version of Temptation, drawing rave reviews and cementing their reputation at the forefront of post‑punk. Video Recording: The show—performed in 1981 in New York City—was filmed by Michael Shamberg and later released on VHS as Taras Shevchenko, capturing the band in a raw, transitional phase and becoming a vital document of their early career. The Ukrainian National Home’s name—and the portrait of poet Taras Shevchenko hanging behind the stage—were prominently displayed, underscoring the venue’s cultural co

Petro Levchenko is a Ukrainian painter

Oleksandr Murashko in the Bucha forest

10s

Oleksandr and Margarita Murashko on their wedding day

Oleksandr Murashko in his workshop.

Angelica and Olexandr Archypenko on their way to New York, 1923

Mykhailo Boychuk in the restoration studio in Lviv

Olexander Archipenko working on Princess Matchabelli