Spiral bound; handwritten recipes on endpapers.

This sumptuous blend of recipes with cultural history is a dinner invitation you won't want to pass up. Chances are you weren't invited to the wedding of Grace Kelley and Prince Ranier, or to Truman Capote's famous "Black and White" ball at the Plaza Hotel. But now you can experience those and other legendary celebrations in your own home, as well as learn about the historic and cultural moments they embodied. This beautifully designed book brings together twenty menus--both authentic and imagined--along with instructions for preparing each dish and recreating the dinners in your home. Each event is represented in multi-page spreads that feature contemporary photographs to help you recreate the meals in your kitchen, while archival images and entertaining essays provide important historical context. You may not live on the Cote d'Azur like Coco Chanel, but why not pretend with the perfect salade niçoise? Join the con artist Henry Gerguson and serve up some fabulous mid-century Noodles Romanoff. Feeling artistic? Serve your guests some roast chicken and borscht, the way Jackson Pollock and Lee Krasner did, with vegetables fresh from their Long Island garden. From JFK's triumphant visit to Berlin to the White House reception for the Apollo 11 crew; from a Bloomsbury high tea to dinner with the famously private Audrey Hepburn, this fun and sophisticated mixture of culture and food will reside as happily on your coffee table as it will on your cookbook shelf.

"For Georgia O'Keeffe, food was elevated to an art form. Not only in her works, but in its preparation and consumption. This book, including fifty of the artist's favorite recipes, balances the fresh local and traditional ingredients O'Keeffe sought with the New Mexican landscape and culture that influenced both her art and sense of self"--Back cover.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.

For more than a decade, Jackson Pollock and Lee Krasner devoted their lives to each other, serving in turn as muse, critic, companion, lover, friend and alter ego. Their romance was stormy - their raucous arguments are the stuff of legend - but their talents were prodigious. This book is packed with examples of the contributions both artists made to the world of modern art. Readers will learn how Pollock and Krasners artistry evolved and how they influenced each others success. Recent developments, such as a revealing biopic and the art worlds elevation of Pollock to the status of being the most expensive artist in the world, bring their portrait fully up-to-date. While the author acknowledges historys sensationalisation of their lives, it is the paintings themselves - revolutionary, innovative and daring - that tell the most compelling story.

Presents letters written by the American painter and his brothers and parents from the late 1920s to the late 1940s.

Donald Judd Interviews presents sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings. This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose. Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he observed, “Generally expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now, in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that they tend to shake up the society a little bit just by their existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art.” Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).