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.
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