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Kievan Rus’ period to our day. The permanent exhibitions at the museum offer such categories: art of the XIII— XVIII centuries; of the XIX to the beginning of the XX century; and contemporary art. Of the 23,000 artifacts of folk art which are preserved at the museum, only 500 are on exhibit. The objects on display from the XIII to the XVIII centuries are icons, manuscripts, woodwork and sculptures. The bulk of the treasures are preserved and stored in the Virmensky Sobor. This constitutes the principal collection of Ukrainian art heritage of the XIV to XVIII centuries, catalogued and categorized according to the schools of art predominant at particular times, such as the Lviv school, the Peremyshl’ school, the Volyn’ school, the Kiev school, etc. Very little is exhibited from the storage housing cultural artifacts of the XIX and XX centuries. There has not been a properly published catalogue to accompany any exhibition in Ukraine. Not too long ago an exhibition of old Ukrainian paintings and the schools they represent was closed three days after opening, with absolutely no explanation. An exhibition like this speaks eloquently about the development of our culture throught the centuries. We therefore can see how inappropriately the Ukrainian culture is presented to the world. It is very important that all of us give some thought as to how best to propagate our culture. The arts are foremost emissaries in such a project, and the museums play a vital role here. More than half a century ago the Administration of the National Museum in Lviv sent this message to the people: “The magnitude of the moment is upon us when our whole nation must become the builder of its own cultural and caretaker of its national hearth from which it can boast to the world of the majestic deeds of its ancestors and though modest of the beauty and might of its contemporary creative spirit. The development of the National Museum must become the task of the best, the strongest and the richest — in other words, of all members of our nation...” Today, the same words are applicable to our community, to all those who are concerned with the fate of our cultural heritage, because the eyes of all museums in Ukraine look to us to become ambassadors or our historic and cultural heritage... During the last 14 years the Ukrainian Museum in New York City has gained enormous experience in this field. Although the Museum is small and financially strained, it has worked hard to make its viewing public aware of the wealth and beauty of Ukrainian cultural heritage, through its perm anent and traveling exhibitions and their accompanying catalogues. The Museum’s traveling exhibitions visited not only Ukrainian centers in the United States but also those in Canada. Some exhibitions were also borrowed by several State and public museums. Lately, several a rticle s have appeared in publications in Ukraine about the Ukrainian Museum’s catalogues. Recently, Dr. Lohvyn, art historian and scholar said this about the “Lost Architecture of Kiev” catalogue, whose author is Titus Hewryk: “The lost architecture of Kiev” calls to all who hold dear the culture of our nation to come together in a plan to regenerate the architectural heritage of this city, and to publish widely about the lost architectural monuments not only of Kiev but of all Ukraine...” Later he writes, “Unfortunately, the internal organs — neither the department for the preservation of architectural monuments of the USSR, nor the national Organization for the preservation of historical and cultural monuments, nor the Ministry of Culture of the USSR, have done anything to erase the “white spots” in the architecture of Kiev. This initiative came from Ukrainians who live beyond the boundaries of Ukraine.” The magazine “ Pamyatky Ukrainy” began reprinting the catalogue in its first issue of 1990. The exhibition “ Lost Architecture of Kiev” became a traveling exhibition after its run at the Museum, and in its role visited more than 20 cities in the United States and Canada. It was first shown in the Senate Building in Washington, D.C., and its latest visit was to the Founders Gallery in the University of San Diego. Traveling exhibitions are an important vehicle in the propagation of our culture. The Ukrainian Museum takes every opportunity to show and tell again and again that we, as a nation are alive, that we exist, that we have preserved and are preserving our cultural heritage. The Museum’s exhibition of Ukrainian folk art was presented at the New Jersey State Museum in Trenton, N.J., at the Monmouth Museum in Lincroft, N.J., at the M ilw aukee P ublic M useum . The pho tog rap hic exhibition “To Preserve a Heritage; A History of the Ukrainian Immigration in the United States” was shown at the State Rotunda in Harrisburg, PA. Now, that there is an opportunity to show original exponents on loan from museums in Ukraine, one can only imagine what interest such exhibits will evoke, because an original is alive, it speaks ..... It is very sad to say that now when such inviting opportunities to develope new exhibition programs are beckoning, the Ukrainian Museum is faced with the reality of limited space, limited funds. In order for federal and state funding to come through, the agencies must see strong community support for the institution. They need to see that the Museum is an integral part of he community, necessary to its growth and well being. They also see that is is important to the Ukrainian community as a means with which to propagate its culture. On the basis of this the Ukrainian community should heartily support the Museum. But, if the community does not care about its cultural heritage, then the Museum’s work is for naught. A parable says: A man gave each of his sons a gold piece. One lost his, another, buried his. The third, however, invested it wisely and benefited from it. The Ukrainian Museum is our investment. Let us help it grow! (Loose translation from Ukrainian)
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