This edict came down from Los Angeles’ high priestess of folk art and craft in 1971, and the museum strives to abide by it today. The legendary Edith cultivated her love of folk art in the '60s, after growing disenchanted with abstract expressionism and minimalism—the art trends of her day.  Edith’s search for a more meaningful art form transformed her into a “chronic enthusiast” of indigenous art, an art form that couples tradition with function. She yearned to support diverse and socially relevant art.

In 1965, Edith channeled that yearning into The Egg and The Eye, an innovative café and shop on Wilshire Boulevard in the Miracle Mile district of Los Angeles, which soon became the preferred hangout for artists, travelers and dreamers. Edith’s belief that a celebration of culture should include both food and art inspired the clever café name. The Egg and The Eye served over 50 exotic omelettes inspired by international cuisine and offered guests a dazzling array of international folk art to enjoy.

In 1973, The Egg and The Eye became the nonprofit Craft and Folk Art Museum, which displayed a wealth of folk art and an eclectic offering of contemporary craft. Determined to make it a “living museum,” Edith initiated workshops and educational programs involving community members whose arts were on display. 

In 1976, she took her passion to the streets of Los Angeles with a parade of masks—a cross-cultural tradition that evolved into the biannual International Festival of Masks. The first multi-cultural event in Los Angeles drew families to the two-day celebration of folk art, dance, music and food. At its peak, the Festival drew up to 40,000 people.

Despite Edith’s retreat from its daily operations in the 1980s, the museum’s programming and research library continued to grow—her inspiration had taken on a life of its own. The museum published catalogs, developed award-winning exhibitions and solidified its position as a sanctuary of folk art and craft in Los Angeles.

Enthusiasm alone could not withstand the recession of the early nineties. After a series of setbacks, financing dwindled and the museum was forced to close its doors for a couple years. The library was given to the Los Angeles County Museum of Art; the collection was sold at auction; and the archive was given to UCLA.  The museum’s operations scaled down and was taken under the administration of the Los Angeles Cultural Affairs Department in 1999.

In March 2005, Maryna Hrushetska was appointed executive director and took to, as Edith’s husband and board chair Frank Wyle put it, “Turning all the lights on, and recapturing [Edith’s vision] to infuse the museum with new energy and excitement.”  

Since Hrushetska took the helm and implemented strategic fundraising and audience development campaigns, CAFAM has significantly diversified its revenue sources and increased attendance by nearly 50%.  A new director with a new staff of professionals has brought a fresh perspective and renewed energy to the operation. With a keen focus on expanding the traditional definitions of craft and folk art, exhibition themes in response to society’s response to globalization and cultural assimilation, Hrushetska has also refurbished galleries, restored the Shop and generated consistently positive coverage in the Los Angeles Times and other local press outlets. Quantas magazine recently observed, “Hrushetska has revitalized this hidden gem on the Miracle Mile.”

Like the diverse array of omelets served at “The Egg and The Eye”, the globally minded CAFAM staff strives to create an ever-changing schedule of vibrant, relevant exhibitions for curious eyes and hungry minds.  

We look forward to seeing you at the Craft and Folk Art Museum soon!