<p class="p1">Due to the expansion of open storage, from August 3 Garage Library will no longer be located in the Seasons of the Year pavilion. The new location and opening date will be announced later.</p>

Please note

7-9 years 

10-14 years 

15-17 years 

0-6 years 

Architecture

Photo

Journalism

Psychology

Music

Family

Stream

Series

Seminars, Workshops and Training

Lectures & Talks

Concerts & Performances

Film Screenings

Exhibitions

Courses

Tours

Concerts & performances

Conferences

Exhibitions & projects

News

Interview

Talks

Lecture cycles

Conferences and seminars

Book presentations

Art Guide

Garage publishing program

Sponsors, patrons, and partners

Information partners

Garage publishing program in collaboration with Artguide Editions

Garage International Publishing Program

Library events

Books in english

Garage Screen

Russian

English

Bilingual (russian/english)

Film programs

GARAGE Club

Programs for exhibitions

Events

Garage Live

Garage Dance

Academic program

Grants

Field research

Patronship

Garage Studios

Mosaic Music

GARAGE Student

Garage.txt

Film festival

Film distribution

Sign language

Mental disabilities

Migration

Audio description

Tactile models

Accessibility guide

Physical accessibility

GARAGE Individual

Digital accessibility

Diversity

Events at Garage

Garage publishing program and Strelka Press 

Text

Audio

Video

Feature

Guide

GARAGE Individual +1

Research laboratories

Artistic research

Translation to russian sign language

Subtitles

Adapted tours

Quiet room

Translation to uzbek, tajik, and kyrgyz

GARAGE Premium

“We Treasure Our Lucid Dreams”

Space 1520

Contemporary Critical Thought

Directors’ series

The Garage Journal

GARAGE Circle

Temporality

Disability

Affect

Overcoming

Body

Timelessness

Non-normative body

GARAGE Collectors Circle  

Experience of the other

Otherness

Developmental disabilities

Mental health

Trauma

Personal experience

Neural networks

Language

7-11 years

Plain language

Garage Café

The computer class schedule

Mediation

Oleg Baranov Going Down

Podcasts

Shelf of the Month. Theatrе

Publishing program page

Series of meetings with residents

Open call

Shelf of the Month. Cinema

Shelf of the Month. Modern Dance

Projects <i>Oral History</i> and <i>Oral History 2.0</i>

Visitors in a wheelchair

garage-txt

Open storage

Research Laboratory: I Am a Parcel, You Are a Stamp

VOKS kinema Research Laboratory

Avant-Garde Center Laboratory for the Study of Soviet Art Series

LISI_TsA

Region reviews

Artist reviews

Thematic reviews

Exhibition reviews

Archive in St. Petersburg

8-14

Publishing program multipage

Public programs

Free

Registration required

Free for exhibition ticket holders

Paid

Booking required

Booking via phone or email is required

Booking on reception is required

Off-site projects

Architecture and design

Supervision

Museology

Philosophy

Economy

Cinematography

Critical biography

Memoirs and diaries

For Garage card holders

Exhibition catalogues

Research

For children

GARAGE + Ad Marginem

GARAGE PRO

Minima

Paperback

Hardcover

Hardcover with dust jacket

Book Selection

Professional programs

Video review

Garage publishing program in collaboration with Ad Marginem Press

Garage publishing program in collaboration with Ad Marginem Press. GARAGE PRO Series

Garage publishing program in collaboration with Ad Marginem Press. Minima Series

City tours

Exhibition tours

Seminars, workshops & training

Lectures & talks

Лирическая поэма Григора Нарекаци, 496 страниц. На обложке имеются царапины, корешок отклеен. Размер в закрытом виде: 14,5 × 17,14 см. Размер в открытом виде: 14,5 × 29 см.

Григор Нарекаци. Книга Скорби

Available on request

<p><h2>About the founder</h2>
<p>
Alexander Kamensky (1922–1992) was a Soviet art historian, one of the fathers of the new art history of the Khrushchev Thaw. He defended artists accused of formalism, including Vladimir Favorsky, Martiros Saryan, Robert Falk, and Alexander Tyshler, coined the term “severe style,” and was the ideologist and co‑organizer of the landmark exhibition 30 Years of the Moscow Union of Artists at the Moscow Manege. His archive is a unique collection of documents covering art from the 1950s to the 1990s.</p>
<p> 

<h2>About the archive</h2>
<p>
The archive includes manuscripts and typescripts of articles and monographs by Alexander Kamensky, clippings from Soviet and international journals and papers, photographs and videos, personal correspondence and documents. A separate section is devoted to Kamensky’s correspondence with publishers, the Soviet Copyright Agency, and other Soviet institutions (Ministry of Culture; Ministry of Communications and Finance; USSR State Committee on Publishing, Printing, and Book Trade; etc). These documents offer insight into the publishing process in the Soviet Union, as well as the bureaucratic and economic aspects of a Soviet art historian’s work. The archive also includes internal correspondence of the Moscow Union of Artists that shows how the organization functioned and paper and journal clippings with critique of Kamensky’s works, including of an anti‑Semitic nature.</p>
<p> 

Kamensky’s major academic works include Private Views (1974), A Knight’s Feat. On the Sculptor Anna Golubkina (1978), and the albums Saryan (1968, 1987) and Konenkov (1962, 1975), preparatory materials for which are also included in the archive. It also contains Kamensky’s correspondence with Marc Chagall and negatives and reproductions of Chagall’s works, which Kamensky used in the preparation of his book Marc Chagall. An Artist from Russia (1991–1992), as well as materials relating to Chagall’s only visit to the Soviet Union in 1973.</p>
<p>

In the 1970s, Kamensky developed an interest in the work of Armenian artists (Martiros Saryan, Nikoghayos Nikoghosyan, Yervand Kochar, Minas Avetisyan, and Akop Akopyan, among others) and made an in‑depth study of the Armenian art tradition, which resulted in the publication of Studies on Armenian Artists (1979). The archive contains a large number of reproductions, exhibition catalogues of Armenian artists, and fiction and academic writings on Armenia and its art. 
</p>

About the founder

Alexander Kamensky (1922–1992) was a Soviet art historian, one of the fathers of the new art history of the Khrushchev Thaw. He defended artists accused of formalism, including Vladimir Favorsky, Martiros Saryan, Robert Falk, and Alexander Tyshler, coined the term “severe style,” and was the ideologist and co‑organizer of the landmark exhibition 30 Years of the Moscow Union of Artists at the Moscow Manege. His archive is a unique collection of documents covering art from the 1950s to the 1990s.
 

About the archive

The archive includes manuscripts and typescripts of articles and monographs by Alexander Kamensky, clippings from Soviet and international journals and papers, photographs and videos, personal correspondence and documents. A separate section is devoted to Kamensky’s correspondence with publishers, the Soviet Copyright Agency, and other Soviet institutions (Ministry of Culture; Ministry of Communications and Finance; USSR State Committee on Publishing, Printing, and Book Trade; etc). These documents offer insight into the publishing process in the Soviet Union, as well as the bureaucratic and economic aspects of a Soviet art historian’s work. The archive also includes internal correspondence of the Moscow Union of Artists that shows how the organization functioned and paper and journal clippings with critique of Kamensky’s works, including of an anti‑Semitic nature.
 

Kamensky’s major academic works include Private Views (1974), A Knight’s Feat. On the Sculptor Anna Golubkina (1978), and the albums Saryan (1968, 1987) and Konenkov (1962, 1975), preparatory materials for which are also included in the archive. It also contains Kamensky’s correspondence with Marc Chagall and negatives and reproductions of Chagall’s works, which Kamensky used in the preparation of his book Marc Chagall. An Artist from Russia (1991–1992), as well as materials relating to Chagall’s only visit to the Soviet Union in 1973.


In the 1970s, Kamensky developed an interest in the work of Armenian artists (Martiros Saryan, Nikoghayos Nikoghosyan, Yervand Kochar, Minas Avetisyan, and Akop Akopyan, among others) and made an in‑depth study of the Armenian art tradition, which resulted in the publication of Studies on Armenian Artists (1979). The archive contains a large number of reproductions, exhibition catalogues of Armenian artists, and fiction and academic writings on Armenia and its art. 


Григор Нарекаци. Книга Скорби

Details