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НАШЕ ЖИТТЯ • Березень-Квітень 2025 13 a center for exhibitions, education, and research. In the 1960s and 1970s, under the dynamic lead- ership of UNWLA president Iwanna Rozankowsky, an intensive nationwide fundraising and marketing campaign began, to which the Ukrainian communi - ty responded readily and with great commitment. Ethnographer Oksana Grabowicz was hired to be- gin the process of professionally documenting and cataloguing the collection. She also laid the ground - work and process for its proper care and storage. The UNWLA chose to locate the Museum in New York, one of the most important cultural centers in the world. In 1976 the organization purchased a building on Second Avenue in Manhattan’s East Village neighborhood together with the Ukrainian Congress Committee of America. The UNWLA took possession of the top two floors of the building for the Museum. The main areas on each floor were designated as exhibition spaces, and the remain- ing areas were allocated for collection storage, an administrative office, and a gift shop. Oksana Grabo- wicz continued to work as curator, and Maria Shust was hired as the Museum’s director. Daria Bajko soon joined the Museum as Administrative Director. The Ukrainian Museum opened its doors to the pub- lic with great fanfare on October 3, 1976. Within a year, the Museum was incorporated as a separate institution, with its own by-laws, and in June 1977, at a Founding General Assembly attended by mem- bers of the Ukrainian community, the Museum’s Board of Trustees was elected, consisting of 25 in- dividuals, with 50% of the Board elected from the community and the rest assigned by the UNWLA. Alexandra Riznyk, who had chaired the UNWLA’s Museum Committee, was elected the first pres- ident of the Museum’s Board of Trustees. The Ukrainian Museum thus began its operations — in its own home for the next 29 years. Some 30 years later, Lubow Wolynetz, curator of the exhibition Thread to the Past: Ukrainian Folk Art from the 1933 Chicago World’s Fair, wrote: “When the Ukrainian Museum opened in New York City in October 1976, its modest size belied the fact that it would soon become a symbol of ethnic identity and a source of pride for Ukrainian Americans, as well as an invaluable repository of information about all things Ukrainian, and the Ukrainian immigrant expe - rience, for Ukrainians and Americans alike.” The opening of the Ukrainian Pavilion at the 1933 Chicago World’s Fair. Catalogue of the exhibition The Lost Architecture of Kyiv (1982). Catalogue of the exhibition Masterpieces in Wood: Houses of Worship in Ukraine (1987).
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