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18 OUR LIFE • March-April 2025 historian at the Institute of History at the National Academy of Sciences of Ukraine, opened in 2010. It was a major undertaking, organized in coopera - tion with the National Museum of the History of Ukraine in Kyiv, with 28 museums from Sweden and Ukraine taking part. In 2014, the bicentennial of Taras Shevchenko’s birth, the Museum mount - ed a unique exhibition, Taras Shevchenko: Poet, Artist, Icon (1814-1861), in cooperation with the Taras Shevchenko National Museum in Kyiv, with 49 of Shevchenko’s original drawings and water - colors on loan. It was curated by George Grabo- wicz, Professor of Ukrainian Literature at Har - vard University. The breathtaking exhibition Stag- ing the Ukrainian Avant-Garde of the 1910s and 1920s, curated by Myroslava Mudrak, Professsor at The Ohio State University, and Tetiana Ruden- ko from the Museum of Theater, Music, and Cin- ema Arts of Ukraine in Kyiv, lender of the works, opened a year later in 2015. It was featured on PBS Channel 13, and the catalogue received the prestigious Alfred H. Barr, Jr. award from the College Art Association in 2016. Another major exhibition, Full Circle: Ukraine’s Struggle for In- dependence 100 Years Ago, 1917-1921, which opened in early 2019, was also curated by Yurii Savchuk. It was organized to commemorate the 100th anniversary of Ukraine’s struggle for inde - pendence in 1917-1921, one of the most dramat - ic and fateful periods in Ukrainian history, and to trace the creation of the modern state of Ukraine. Full Circle showcased original artifacts generous- ly loaned by institutions and individual collectors from Ukraine, Switzerland, Bulgaria, and the U.S. All these exhibitions were accompanied by exten- sive, bilingual catalogues. The Museum has also significantly expanded its educational and public programming, adding new workshops and family programs and introducing film festivals, concert series, book launches, and numerous other events. Over the years, city, state, and federal funding agencies have supported the work of the Muse - um. Agencies such as the New York City Depart - ment of Cultural Affairs, the New York State Coun- cil on the Arts, and the Institute of Museum and Library Services have played an important role in helping the Museum carry out its programming. However, the Museum has always relied primari- ly on the financial support of the immediate and greater Ukrainian American community, its larg- est constituency. As stated in the program booklets handed out during events celebrating the Museum’s work, “Pro- fessionalism, conscientiousness, accountability, and the determination to take advantage of opportuni- ties and to meet challenges head-on allowed the Museum to grow and develop into an important in- stitution. These characteristics also attracted strong community support, increased the Museum’s popu- larity with the public, and instilled respect among its peers. Since the opening of its new building in 2005, The Ukrainian Museum has increasingly become a vital center of Ukrainian culture.” When Ukraine was invaded by russia, first in Crimea and the Donbas area in 2014 and then in 2022 in other parts of eastern and southern Ukraine, the Museum began mounting exhibitions to make the public aware of the effects of the war on Ukraine and its people. After Maria Shust retired as director in 2022, the Museum’s new di - rector, Peter Doroshenko, continued to develop exhibitions highlighting the situation and began organizing exhibitions and programs with the aim of decolonizing the effects of russia’s usurpation of Ukraine’s cultural achievements and the contribu - tions of Ukrainian artists to world culture and right - fully reclaiming them. Among the exhibitions that have been presented were the works of Maria Pry - machenko, Alexandra Exter, and Volodymyr Tatlin, among others. Programming has included discus - sion series such as The Decolonization of Ukraini - an Cinema and A Guide to Decolonizing Ukrainian Art, a timely discussion that centered on the 2025 publication of a guide for museums dedicated to decolonizing Ukrainian art. The work of The Ukrainian Museum and its mis- sion reflect the deep understanding of the impor - tance of the preservation of one’s cultural heritage that has been ingrained in the Ukrainian people and that, to a great extent, has preserved Ukraine as a nation — a nation whose people have inspired the world with their courage, their determination, their fierce love for their country, a nation that is ready to defend its country to the very end.
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