Alla Gorska at work on the mosaic scaffolding

Vasyl Parakhin Alla Horska Hryhoriy Synytsia Viktor Zaretsky — Near the "Prometheus" mosaic.

Alla Gorska on the scaffolding of the mosaic

Alla Horska, Hryhoriy Synytsia, Vasyl Stus, Viktor Zaretsky

All Gorska

Nadiyka Hryhorivska Ivan Drach Alla Horska during a trip to Ukraine

20. Alla Gorska Z Druzyami Shistdesyatnikami U Kremeneczi 1963 R

Mykola Glushchenko and Volodymyr Vynnychenko

Photo of Alla Horska, end of the 1940s, Odesa, Ukraine. Ukrainian Unofficial.

Living Echo of the Cossack Elite: Georgiy Narbut in Paraska Apostol’s Kontusz with Kelep and Colonel MiloradovychIn the photograph, Georgiy Narbut stands in the Cossack hall of the Tarnovsky Museum (now a room of the Chernihiv Regional Library for Youth), fully immersed in a historical Ukrainian image. He is dressed in the kontusz of Paraska Apostol, daughter of Hetman Danylo Apostol, holding a kelep in his right hand, while to his right stands Colonel Mykhailo “Cannon” Miloradovych. This staged yet documentary scene shows Narbut not just studying Cossack-era artifacts, but literally wearing them, turning himself into a living embodiment of the Ukrainian noble-Cossack past.

The Soul of Alla Gorskaya

Yakiv Hnizdovsky painting "The Wanderers", 1948

Slavko Nowycki (1934—2019)

Futurist David Burliuk

David Burliuk in Japan

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Portrait of the American sculptor Louise Nevelson, taken by the celebrated fashion and portrait photographer Richard Avedon. The image was captured in New York in 1975.

Band New Order performing live in New York in 1981 at the Ukrainian National HomeA New Beginning: This performance was part of New Order’s first U.S. tour, staged a little over a year after Joy Division singer Ian Curtis’s death. It marked a crucial step in the band’s transition and the beginning of their effort to define an identity separate from their previous group. Musical Evolution: On this tour, New Order moved beyond Joy Division’s post‑punk austerity, embracing synthesizers and propulsive rhythms. In New York they unveiled an early, unreleased ten‑minute version of Temptation, drawing rave reviews and cementing their reputation at the forefront of post‑punk. Video Recording: The show—performed in 1981 in New York City—was filmed by Michael Shamberg and later released on VHS as Taras Shevchenko, capturing the band in a raw, transitional phase and becoming a vital document of their early career. The Ukrainian National Home’s name—and the portrait of poet Taras Shevchenko hanging behind the stage—were prominently displayed, underscoring the venue’s cultural co

Delegates to the First All-Union Conference of the Association of Proletarian Writers of the USSR, representatives of Ukraine and Belarus. From left to right, sitting: Mykola Khvylovy, Serhiy Pylypenko, Tsishka Gartny, Adam Babareka. Standing: Grigory Epik, Mikhas Charot, Anatol Volny, Mykola Hristovy. Moscow All executed before 1937, Khvylovy - committed suicide.

Taras Shevchenko and a Kazakh Boy Playing with a CatSepia drawing by the Ukrainian artist and poet Taras Shevchenko, created between 1856 and 1857. The artwork depicts Shevchenko in the background, observing a Kazakh boy in the foreground who is playing with a cat. The drawing was made while Shevchenko was in exile at Novopetrovsk fortress (now Fort Shevchenko in Kazakhstan) on the Mangyshlak Peninsula. During his ten years in exile, he was officially forbidden from writing or painting. However, he continued his artistic work secretly with the support of friendly locals and his friends. He was assigned to a geological expedition, which provided him with opportunities to sketch. The drawing is in the collection of the National Museum of Taras Shevchenko in Kyiv, Ukraine.

Bishop-Martyr Nykyta BudkaA book presentation was held in Rome last week for the launch of a new biography of the first Ukrainian Greek Catholic Bishop of Canada, Blessed Nykyta Budka. Major Archbishop Sviatoslav Shevchuk of Kyiv-Halych was present for the book launch, along with Bishop Borys Gudziak of Paris and Bishop Hlib Lonchyna of London. “God’s Martyr, History’s Witness,” by Father Athanasius McVay, was commissioned by the Ukrainian bishops of Canada for the commemoration of the 100th anniversary of Bishop Budka’s arrival in Canada. Bishop Budka began his ministry in Canada in 1912, just before the beginning of the first World War. After 15 years in Canada, he returned to his native Galicia in what is now Ukraine. During the Soviet occupation of Ukraine following World War II, Bishop Budka was imprisoned and deported to Kazakhstan, where he died a martyr’s death.