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lating collection of artifacts. It is wonderful that we may see these things in New York City. Pity it is not a larger collection,” writes a visitor from Tanzania. Another foreign visitor writes, “ I was impressed with the exhibition, particularly with the clarity of presentation. It is not easy to see something about Ukrainian culture in most countries. It is therefore important that there is such a museum in New York City.” “Everything was magnificent. It is worth coming from Tokyo, Japan.” These and similar comments confirm the Museum’s belief that it serves as a "magnet” for the public-at-large. Most recently, The Ukrainian Museum has embarked on a program of traveling exhibi tions. While a permanent ethnographic collection is housed in New York City, a traveling exhibition will tour various museums, institutions, and art centers in cities throughout the United States. The first traveling ethnographic exhibition opened on April 27, 1984 at the New Jersey State Museum of Trenton, N.J. Four other museums have already booked the exhibition for their programs. "The Lost Architecture of Kiev” exhibition, which opened at The Ukrainian Museum in June, 1982, is currently at the University of Dayton, Ohio, and will be traveling to other cities in the United States as well as in Canada. The photography exhibition documenting the story of Ukrainian immigration in the United States, which opens at the Museum on May 19,1984, is slated to become, in its turn, a traveling exhibition. Goethe once said, "Arsenals, galleries and museums to which nothing is ever added take on a ghostly and funereal air.” In a similar vein, Dr. Dietrich von Bothmer, curator of Greek and Roman Art at the Metropolitan Museum of Art, notes that “a collection that stops building is dead.” The Ukrainian Museum is flourishing. Its ethnographic collection grew from an initial seven hundred artifacts to over 2500. A Historical Department was recently started. Among its collectible items it numbers valuable 17th century Ukrainian coins, paper money issued at the time of Ukrainian Independence (1918-1920) as well as passports issued by the Ukrainian National Republic. In preparation for the projected photography exhibition, the Museum was able to col lect some 1500 photographs. All photographs were classified and catalogued; originals and copies were treated for preservation. Additional photographs depicting the life of Ukrainian communities in the United States as well as photographs taken in Ukraine continue to be sent in. The photography archives is part of the Museum’s Historical Department. Last year the Museum purchased a collection of works by the renowned master of naive art Nikifor of Krynytsia. The collection comprises fourty three watercolors, fifty-five drawings as well as archival materical. A number of valuable paintings have already been donated to the Museum and several collectors have bequeathed their private collections to the Museum. Thus, a Fine Arts Department can be set up as soon as the Museum has adequate space to house the collections. While the Ukrainian Museum is rapidly expanding, the problem of finding additional space is one of paramount consideration. Currently, there is $175,000 in the Building Fund, but the Museum must intensify its fundraising efforts in order to reach its goal. The Board of Trustees, the administrative staff and the Museum’s enthusiastic supporters are deter mined to do their utmost to ensure that the Museum is better able to realize its potential. The Museum is confident that with the continued generous support from the Ukrainian community and the general public it will be able to expand its facilities. BOHDAN Y. CYMBALISTY PRESIDENT OF THE BOARD OF TRUSTEES 63 www.unwla.org
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