Raiding the Icebox is a kaleidoscopic review of the avant-garde and radical subcultures of the twentieth century, and explains how the most powerful artistic statements of the era redrew the line between high and low art. Beginning with an analysis of the role of Diaghilev and the Russian Ballet, Wollen argues that modernism has always had a hidden, suppressed side which cannot easily be absorbed into the master-narrative of modernity. Wollen reviews the hopes, fears and expectations of artists and critics such as the Bauhaus movement, as fascinated by Henry Ford’s assembly line as they were by the Hollywood dream factory, concluding with Guy Debord’s caustic dystopian vision of an all-consuming “Society of the Spectacle.” Finally, Wollen chronicles the emergence of a subversive sensibility as he explores some of the unexpected new cultural forms which non-Western artists are taking as modernism enters into crisis at the beginning of a new century: reversing the rules of the game and raiding the icebox of the West.

Raiding the Icebox is a kaleidoscopic review of the avant-garde and radical subcultures of the twentieth century, and explains how the most powerful artistic statements of the era redrew the line between high and low art. Beginning with an analysis of the role of Diaghilev and the Russian Ballet, Wollen argues that modernism has always had a hidden, suppressed side which cannot easily be absorbed into the master-narrative of modernity. Wollen reviews the hopes, fears and expectations of artists and critics such as the Bauhaus movement, as fascinated by Henry Ford's assembly line as they were by the Hollywood dream factory, concluding with Guy Debord's caustic dystopian vision of an all-consuming "Society of the Spectacle." Finally, Wollen chronicles the emergence of a subversive sensibility as he explores some of the unexpected new cultural forms which non-Western artists are taking as modernism enters into crisis at the beginning of a new century: reversing the rules of the game and raiding the icebox of the West.

"Andy Warhol’s Raid the Icebox exhibition [held at the RISD Museum of Art, April 23-June 30, 1970], and the many similar museum projects it has spawned throughout the world over the past fifty years allow us to reconsider what storage is and might be. How do we recuperate the lost narratives residing in storage? How do we write new histories? How do objects that have become disassociated from their original contexts acquire fresh lives? How does storage evolve from a problem to be solved to an opportunity for discovery?"--Prelude.

"This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call "the exhibition" as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations. It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time."

An exploration of the converging worlds of art and fashion in the twentieth century.

"Without doubt, it is the best study of cinema published in English for years." --Cinema "... a major achievement... drawing on the results of aesthetic inquiry--from Shaftesbury and Lessing to Jakobson and the formalists--in order to relate the cinema to wider areas of linguistic theory and theory of art." --Times Literary Supplement

A charming collection of updated recipes for both classic and forgotten cakes, from a timeless yellow birthday cake with chocolate buttercream frosting, to the new holiday standard, Gingerbread Icebox Cake with Mascarpone Mousse, written by a master baker and coauthor of Rustic Fruit Desserts. Make every occasion—the annual bake sale, a birthday party, or even a simple Sunday supper—a celebration with this charming collection of more than 50 remastered classics. Each recipe in Vintage Cakes is a confectionary stroll down memory lane. After sifting through her treasure trove of cookbooks and recipe cards, master baker and author Julie Richardson selected the most inventive, surprising, and just plain delicious cakes she could find. The result is a delightful and delectable time capsule of American baking, with recipes spanning a century. With precise and careful guidance, Richardson guides home bakers—whether total beginners or seasoned cooks—toward picture-perfect meringues, extra-creamy frostings, and lighter-than-air chiffons. A few of the dreamy cakes that await: a chocolatey Texas Sheet Cake as large and abundant as its namesake state, the boozy Not for Children Gingerbread Bundt cake, and the sublime Lovelight Chocolate Chiffon Cake with Chocolate Whipped Cream. With recipes to make Betty Crocker proud, these nostalgic and foolproof sweets rekindle our love affair with cakes.

This is an anthology of the best criticism produced about Hawks' films. Among the critics collected together in this book are Andrew Sarris and Robin Wood who go towards demonstrating the coherence and integrity of Hawks' work.

A "highly recommended" (Library Journal) contribution to interdisciplinary debate about how cultural differences are implicit within visual forms.

A collection of essays examines avant-garde film and art and analyzes the themes and political significance of motion pictures.