Skip to content
Call Us Today! 212-533-4646 | MON-FRI 12PM - 4PM (EST)
DONATE
SUBSCRIBE
Search for:
About Us
UNWLA 100
Publications
FAQ
Annual Report 2023
Annual Report 2022
Annual Report 2021
Initiatives
Advocate
Educate
Cultivate
Care
News
Newsletters
Sign Up For Our Newsletter
Join UNWLA
Become a Member
Volunteer With Us
Donate to UNWLA
Members Portal
Calendar
Shop to Support Ukraine
Search for:
Print
Print Page
Download
Download Page
Download Right Page
Open
1
2-3
4-5
6-7
8-9
10-11
12-13
14-15
16-17
18-19
20-21
22-23
24-25
26-27
28-29
30-31
32-33
34-35
36-37
38-39
40
14 OUR LIFE • March-April 2025 From the beginning, the Museum’s work was marked by its adherence to the highest museum standards in all aspects of its operations, including in the care of its collections and in the development of its exhibitions and programs. A very active exhi - bition program was initiated not only in the area of Ukrainian folk art, but also in various aspects of Ukrainian culture and history. Individuals were engaged as outside curators, specialists in specif - ic fields. Major exhibitions were accompanied by scholarly bilingual, illustrated catalogues, based on extensive research. These publications became im- portant sources for research in the years to come. One of the most successful early exhibitions was The Lost Architecture of Kiev, curated by Titus Hew- ryk, an architect with a deep interest in architec - tural history. Among the individuals who had immi - grated to the U.S. was Ludmyla Morozova, an artist who had been involved in the 1930s in an effort to document the Stalinist regime’s destruction of the Mykhailivskyi Sobor, the 10th century church and monastery complex in Kyiv. She had irreplaceable photographs of the church complex and the pro- cess of its destruction. Learning of the existence of this valuable material, and that there was an indi - vidual who was an actual witness to this atrocity, Titus Hewryk began to research the destruction in the 1930s of numerous churches and architectural landmarks in Kyiv — the irreplaceable architectural heritage of Ukraine. Based on visual material, in - terviews with Ludmyla Morozova and other indi - viduals, and after extensive research, he worked on publishing and documenting this largely unknown cultural and architectural loss. This led to his cu- rating The Lost Architecture of Kiev, which was ac - companied by a scholarly, extensively illustrated catalogue, produced as two separate publications in English and Ukrainian. The exhibition opened in 1982 and later traveled to 15 institutions across the U.S. and Canada, including the Russel Building of the U.S. Senate in Washington, DC. Numerous Ukrainian communities displayed this exhibition in 1988 as part of the 1000-year celebra- tion of Christianity in Ukraine, with many arranging to show it at non-Ukrainian institutions, such as the Massachusetts State House in Boston, the Univer - sity of Southern California in Los Angeles, and the Provincial Museum of Alberta, among others. The Alexander Archipenko: Vision and Continuity (2005). Alexander Archipenko: Vision and Continuity (2005). Crossroads: Modernism in Ukraine, 1910–1930 (2006). Crossroads: Modernism in Ukraine, 1910–1930 (2006).
Page load link
Go to Top
1 
2-3 
4-5 
6-7 
8-9 
10-11 
12-13 
14-15 
16-17 
18-19 
20-21 
22-23 
24-25 
26-27 
28-29 
30-31 
32-33 
34-35 
36-37 
38-39 
40 
