Young, Black, Rich and Famous: The Rise of the NBA, The Hip Hop Invasion and the Transformation of American Culture

Book Description

In this controversial look at the impact of cutting-edge black urban culture on contemporary America, Dr. Todd Boyd, the man CNN deemed “the hip-hop professor,” uses the intertwining worlds of basketball and hip hop as a powerful metaphor for exploring the larger themes of race, class, and identity.

In the 1970s, as a direct result of both the civil rights and the black power movements, black popular culture became a visible, influential presence in mainstream film, television, music, and sports. Basketball, in particular, reflected the changing landscape. The NBA came to be dominated by young black men whose potent combination of fame and wealth, often coupled with a defiance of white mores, profoundly disrupted the status quo. At the same time, hip hop music was emerging from the streets of New York City. An expression of and a response to urban conditions, it served as a way of being heard when many other forces attempted to suffocate the black voice. It, too, aroused strong reactions.

In Young, Black, Rich and Famous, Todd Boyd chronicles how basketball and hip hop have gone from being reviled by the American mainstream to being embraced and imitated globally. For young black men, he argues, they represent a new version of the American dream, one that embodies the hopes and desires of those excluded from the original version. Shedding light on both perceptions and reality, Boyd shows that the NBA has been at the forefront of recognizing and incorporating cultural shifts—from the initial image of 1970s basketball players as overpaid black drug addicts, to Michael Jordan’s spectacular rise as a universally admired icon, to the 1990s, when the hip hop aesthetic (for example, Allen Iverson’s cornrows, multiple tattoos, and defiant, in-your-face attitude) appeared on the basketball court. Hip hop lyrics, with their emphasis on “keepin’ it real” and marked by a colossal indifference to mainstream taste, became an equally powerful influence on young black men. These two influences have created a brand-new, brand-name generation that refuses to assimilate but is nonetheless an important part of mainstream American culture.

A thought-provoking examination of basketball and music—“the two rarefied spaces where the most fundamental elements of blackness are articulated and played out, both internally and for the masses”—Young, Black, Rich and Famous brilliantly captures a culture and a sensibility that are at once unique, influential, and sometimes intimidating to so many.

Customer Reviews:

Skywalker: Head and Shoulders Above the Typical Sports Book.......2007-01-07

At first glace, I was ready to dismiss this book. The author's picture shows a heavy set 30-something man with a goatee, granny sunglasses, and what appears to be... an ASCOT!! ("No diggity," I thought. "I could take Poindexter to the rack! Boo-ya!"). In his intro, the author mentions his PhD (a lot -- okay, we *get it*) and street-cred hybrid, saying he's "Einstein plus Shaft"! But alas, his saving grace is his name -- Todd Boyd. There's no "Dr." or middle names or initials. Todd Boyd -- Tight!

The writing isn't professor-foggy or professor-take-10-pages-to-make-a-one sentance-point; the words are sharp and clear. There are no big words in quotations, no use of "so-called" and -- I was looking for it -- only one "indeed"! And while the writing style doesn't convey the speed and aggression of b-ball, or the inside game (Pat Riley and Phil Jackson's books have more sweat and sneaker squeaks), Boyd has the objective distance and big picture theories of a cultural historian.

Boyd covers basketball since the 1970's. And I'll just kick it freestlye with some of his points:

- Kareem exemplified the 70's stars' stoicism. He played basketball -- he was not there to entertain the white man. Boyd compares these types of players to jazz greats who were not looking for popular approval. (Like Miles Davis, who would turn his back to the audience while he played).

- The ABA allowed "street ball" play, while the NBA of the 70's was more conservative. When the ABA folded/merged with the NBA, street style was injected into the NBA. And today, street style is *the* style.

- In the late 70's, the image of the NBA was of lazy cocaine users. Boyd notes that the NBA was no more coked up than other sectors of the entertainment industry. Boyd does not mention that ballers are athletes worshipped by kids. (And Boyd doesn't mention that Magic, Bird, *and Commissioner David Stern* all came into the league in the same year and upgraded the league's image).

- Magic redefined "position" by playing all five spots to win the championship his rookie year. This helped break the limitations of position -- players could roam all over -- and furthered the street style. (For example, Jordan or Kobe can bring the ball up the court and create his own shot and/or take it to the hole... formerly a point guard had to set, say, Dr. J up. The Dr. was dangerous on the wing, if he got the ball... Jordan was dangerous always).

- Magic smiled a lot, which was a break from the Jabbar stoic style. Magic makes it okay to entertain without seeming minstrel. Boyd claims that it was demeaning that Magic was always mentioned in the same breath as Bird. I say Bird was the second-best all-around player, and they elevated each other. I think Magic would agree. (And the *only* possible knock on Jordan was that he never had a nemesis - a Bird, a Joe Frazier - that took him to an even higher level. Of course, he had no nemesis because he was too good :-).

- The Celtics and Duke University teams were whiter by design. It's no accident. (I'd add the Utah Jazz).

- The Detroit Pistons were viewed as Bad Boys because they - and Detroit - were so black. (Plus Lambier :-). Boyd claims they were hated for the same physical play of the whiter Celts. I say the Pistons played nastier.

- Iverson is Boyd's poster boy for hip-hop style in basketball. He does what he wants, and f*%& 'em. Boyd doesn't seem to have a problem with Iverson showing up late or missing practices. Hey, f#*^ 'em. Uh, those are his teammates he's f&$%ing!

- Boyd likes that high schoolers can and do jump straight to the pros. And he doesn't think high schoolers should have to pass a test to play college ball. He claims that it's NCAA affirmative action for whites. (Chris Rock voice here....) Too many black players? Give the ghetto kids a test! If you have $200, how many pairs of duck shoes can you buy at Land's End, and still have enough to buy a jar of mayonaisse?

- The NBA is increasingly non-white, and the whites are increasingly foreigners. The college game is whiter, as it's more controlled, and the best players - who are also black - go from high school to the pros... or stay in college for a year or two before going pro.

- And Boyd weaves Bill Cosby, Eddie Murphy, Richard Pryor, and of course hip-hop into the mix.

- Plus a lot, lot, more. (For example, my review title "Skywalker" references David Thompson, the most electrifying player of his era. He literally took the air game to a whole new level. His career was cut short (you could say his was the promise that Jordan later delivered on), and I'm very glad Boyd told his story).

- A couple things Boyd does not mention, that my creative license allows: 1) In the 1920's, Dr. Funkenstein was the first "black" player in the league. A white man who wore blackface, Funkenstein dazzled the crowd by dribbling between his legs, passing behind his back, and doing a "jump shot". (I find the whole concept offensive: Could you imagine Allen Iverson in white face, high striped socks and short shorts while shooting set-shots and being lauded because "he doesn't have much natural talent, but he plays with a lot of HEART!"). 2) If you look closely at Kevin McHale, you can see the scars on his neck from where they took the bolts out. Was he created in a lab as part of a honky Boston conspiracy?

Go Lakers!

Critical Theory meets the NBA.......2004-11-17

Using the tools of a critical theorist, Todd Boyd sets out to analyze the quest for freedom of expression and existence, as it is played out on the basketball court and within the Black cultural renaissance of Hip-Hop music. American basketball, as it is played and lived by young African American men and Hip-Hop culture both resist being co-opted by mainstream America. They have both moved from the purlieus of the larger American popular cultural purview to occupy a unique space at the vortex of the American global marketing machine. Within this framework, America and the world, are live witnesses of the creative expression of black culture as it is lived and informed by black rather than white norms and of the global representation of American popular culture, in the face of black rather than white men. Such an analysis requires that one is able to navigate seamlessly between the theoretical constructs of critical theory, the lyrical genius of the Notorious B.I.G. and the choreographic grace of his Airness, Michael Jordan, all the while "keeping it real" as only a Black man can do. Boyd is successful in his methodological approach as he delivers with stunning detail the nuances of what it means to be young, black, rich and famous in America.
Boyd's expertise as a critical theorist is evident as he lays out the theoretical framework for the book and adeptly situates his theory within the venue of the National Basketball Association where Hip-Hop music has become the new national anthem. In addition, his background as a journalist and sports enthusiast gives him a solid foundation from which he recounts more than thirty years of basketball history. As an African American man and scholar, Boyd brings lived as well as critical experience to the understanding of the emergence of Hip-Hop culture as a counter hegemonic movement on the American landscape.
Boyd identifies the creative genius of the African American style of basketball at the center of a transformation that has taken place in the NBA. It is basketball, with its low equipment cost, ability to be played in small places, and its capacity to be played alone, that is uniquely suited for the African American urban reality. Basketball provides African American "ballers" the creative canvass on which portraits of individualized representations of freedom may be painted.
Reminiscent of the aesthetic rhythm of a Magic Johnson assist to James Worthy, Boyd show how the lyrics, the style of dress and the overall attitude of Hip-Hop has informed a new generation "Hip-Hop ballers" in the NBA. Boyd connects the freestyle of play in this new generation of ballers to the freedom of style and expression that is epitomized in Hip-Hop culture.
The connection between Hip-Hop and how it influences the rise of freestyle play in the NBA, and the uncompromising and unassimilated attitude of the young, black, rich and famous NBA stars is critical to Boyd's central theme. Boyd does an outstanding job in developing his thesis along the lines of the transformation of the NBA through these new school players. However, he fails to do justice to the emergence and the development of Hip-Hop as a cultural phenomenon. The book focuses on the transformation of the NBA and Hip-Hop is used primarily as the background music throughout the process. Boyd also neglects the significance of the WNBA as a creative context for African American woman, or perhaps as a restrictive platform for a black female cultural contribution. Finally, Boyd leaves important questions unanswered: Does the power to maintain one's personal freedom and individual creativity only lend itself to the "rich and famous"? If so, how should we address the simply "young and black"?
Overall, the work makes a significant contribution to the growing body of literature that concerns itself with the radical reconstruction of race and representation in a global society. Students and academicians of critical theory, critical race theory, and cultural anthropology will find the examination of the NBA and Hip-Hop as fascinating contexts in which to study race representations and the indigenous creation of cultural norms. In addition, the book provides for the sports enthusiast, a tremendous insight into the evolution of the game of basketball as it distinguishes itself from baseball and football, as the only major professional sport in which individual creativity has transformed the sport, and in doing so transformed the culture.
In the end Boyd makes a shocking revelation that shows that as the NBA gains global popularity as an American cultural commodity, the global spokesperson for American culture is increasingly a black man.

Gave it to 'em raw.......2004-07-29

Dr. Boyd hits it on the head with this piece about basketball and hip-hop. The only way a book like this can be written the way it was is if you are a part of the culture yourself, because if not, it will not be easy to understand. I, for one, love it because he uses teams from the 80's, such as the Georgetown Hoyas, the early 90's with the Fab Five of the Michigan Wolverines, and other teams, players, and events in the game which took me back in time. When he speaks about these things, you can see the connection with hip-hop, such as Allen Iverson's influence, and others lack thereof. He uses lyrics from some of the hip-hop's greats, but like I mentioned before, you must be a part of the culture or at least familiar with it to see what he is trying to say. He keeps it real throughout the book and gives credit where it is due while being critical at the same time. 'Ball and hip-hop have a unique bond, and the significance of it cannot be ignored.

Whoýs Balliný Now?.......2004-06-23

Todd Boyd takes the notion of the hip-hop industry and basketball being synonymous to an entirely new level. With fluid and memorable references to the similarities of how hip-hop came from the streets, to the formation of how basketball is now the newest form of hip-hop, Boyd captures the essence of the sport like no other.

Using references of how both dominate the streets and how the world of basketball has been changed thereafter, Boyd highlights the game and its glitches, from racism down to the money-making formula that has taken hold today. With no stone unturned, readers are carried through moments of fame, glory and the challenges that former and current NBA players face, including dealings within the drug game and how money-making opportunities being offered today are very similar in nature.

Although basketball used to be a quiet and unnoticed, it has now emerged as a dominant and lucrative force in the professional sports arena. With unparalleled style, YOUNG BLACK RICH & FAMOUS details the life that almost every young black man dreams of. The NBA, its lucrative deals and opportunities have transformed the way everyone looks at young black males and the actual sport today. Actually, it's quite obvious that basketball has emerged as the new "American" sport. They said it couldn't be done and couldn't happen - next question: Who's Ballin' Now?

Reviewed by T. Belinda Williams
of The RAWSISTAZ Reviewers

Pretty Good Book.......2004-06-19

I dig whenever Todd Boyd is on a Project because He has a way with words.this Book puts alot into Perspective&Bridges many a gap.I was hoping for more Pulling together of Hip-Hop with the NBA a bit more but overall this Book makes for a Pretty Good read.

Amazon.com

Cream is oversized, is packaged in a heavy plastic bag, and is the brightest of hot pinks. It is designed to be noticed and everything about it screams cutting edge. Ten curators from different cities each chose ten artists and one text to include in this exhibition in book form. The emphasis is on the artwork, with 400 of the 448 pages devoted to color images. Art world luminaries such as Matthew Barney, Gabriel Orozco, and Douglas Gordon are included, but the focus is on emerging artists from all over the globe. This global perspective is discussed in the transcribed online conversations between the publisher and the curators, including Dan Cameron from the New Museum in New York and Hans Ulrich Obrist from the Musee d'Art de la Ville in Paris. Other topics range from questioning the audience for contemporary art to defining the term "emergent artist." These topics are hotly debated at times due to the vastly different perspectives of the curators.

These varied viewpoints lead to an eclectic collection of artwork, yet there are certain discernible themes: politics, the body, the use of everyday objects, architecture, and design. Though many of these themes have circulated within the art world for some time, much of the work here is new and exciting, and there is brief, helpful text accompanying each artist's work. The writers included are equally as diverse, from Nobel Prize-winning novelist Toni Morrison to cultural critic Edward Said to artist-writer David Robbins. Cream offers many different perspectives and a great chance to get a glimpse of what is brewing in an art world that is less limited by physical boundaries than ever before. --Jennifer Cohen

Customer Reviews:

you should have more than one.......2001-08-18

after i brought this book, i feel like i can go nearer to what is called "art" not art in the traditional meaning in my country that is something that difficult to make or to know. i just know from this book that art is can be everything and make me dare to touch it , see it ,think of it and make it. i like to see this book and think along while i gradually open each page skiply. yes, i alreadly had one but i think it not enough because i want the other to make my room like an art museum where i an looking the other one. do you think this is crazy?

Its better art than book.......1999-04-07

I was exited to get this book after reading some reviews in various magazines. When I got it and opened it however I was disapointed. Having to cut it out of its bag was anoying, but not as anoying as the feeling I got once I looked at the book, and wished I had not removed it from its airtight home. I would have been much happier having this book hung on my wall as a piece of art in itself than in my bookcase alongside 'I want to spend...' by Damian Hirst (a must have)

THIS IS WHAT IT IS.......1999-02-26

THIS IS WHERE ITS A

THIS IS WHAT IT IS.......1999-02-26

THIS IS WHERE ITS A

An interesting, wide-flung collection.......1999-02-15

A good, interesting mix of artists, from the usual suspect power hitters to young artists I've seen in galleries but was surprised to find in a book this shiny. Many big names missing, which is terrific--we've seen enough of them anyway, and that means the space was given over to emerging people.

My one quibble: I wish the reproductions were of higher quality. The grainy look serves some works well, but at other times images could have been sharper.

Last but not least, the book is beautiful, one of the few art books that looks like it was made by people who like art, for people who like art to actually hold and look at, rather than for people to add to the art book shelves in the library of their fusty country estate. I loved the trim, the vellum finish, the text design, the vacuum-sealed bag. A great package and a great gift.

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Ice Cream: Contemporary Art in Culture
Ten Curators
Manufacturer: Phaidon Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0714846805

Book Description

"A compendium of cutting-edge art." - Miami HeraldThe summer forecast for contemporary art is decidedly "cooler" thanexpected.Massive cutting-edge international exhibitions including TheVenice Biennale, Documenta 12 in Kassel, Germany and Sculpture ProjectsMuenster are all scheduled for June 2007 and the art world will be abuzz. But what if you can't make it to these events and you want a piece of theaction?ICE CREAM: CONTEMPORARY ART IN CULTURE is an up to the minute collection ofthe most exceptional contemporary artists of tomorrow.It presents 100 ofthe world's top emerging artists selected by 10 esteemed curators includingJens Hoffman, Director of the CCA Wattis Institute in San Francisco; ShamimMomin, Associate Curator at the Whitney; Philippe Vergne, Chief Curator atthe Walker Art Center; and The Wrong Gallery, formally "the smallestexhibition space in New York" that is now housed within the Tate Modern.Continuing the phenomenon established by its predecessors Cream (1998)Fresh Cream (2000) and Cream 3 (2003) as in "one that rises to the top,"ICE CREAM identifies the cutting edge artists to watch in the future.Theprevious titles were a favorite among collectors as they accuratelypredicted a number of art stars including Tacita Dean, Olafur Eliasson andThomas Hirschhorn.Stylishly designed, ICE CREAM also upholds the series'heritage of innovative packaging by featuring a shiny iridescent cover. In ICE CREAM, each curator has selected 10 important new artists who haveeither emerged internationally over the past five years, or are stillrelatively unknown.Their definition of emerged means that an artist hashad solo shows, but nothing large-scale in a major institution (apart froma couple recent exceptions), has been reviewed in the international artpress, but not been the subject of a major monograph, and has been givensufficient exposure without yet becoming fully established. In the selection process, no limitations on geography or media wereimposed. Over 25 countries are represented including China (a currentfavorite with collectors), Brazil Russia, Canada, Slovenia, Korea, Israel,Kenya, Mexico and the U.S.Age was also not a factor.The Wrong Galleryeven went so far as to select the "most unlikely candidates."MassimilianoGioni explained, "In other words, we went for the wrong ones: artists whoare more than 60 years old; artists who are not emerging, but have emergedor simply stuck around long enough to make their voices heard by anyone whowould listen."They selected artists such as Maria Lassnig, David Medallaand Jiri Kovanda.ICE CREAM opens with a conversation between the contributors as they debatethe changing role of the curator and current trends in contemporary art,including: *The blurring of roles between artist and curator demonstrated by thefact that artists have recently been invited to make selections inexhibitions. For example, The Wrong Gallery curated the 4th Berlin Biennialfor Contemporary Art (2006) and presented an exhibition within the 2006Whitney Biennial. The ICA London also exhibited the "Artist's Favorites"show in 2004.*The shift in the conception of the exhibition that expands beyondmuseum walls. Inserting art in different environments.*The effect of private art spaces that are run by collectors todisplay their own collections.Jens Hoffman states, "This will have astrong impact on the overall landscape of contemporary art, since many ofthose collectors who are opening spaces are also the people who give moneyto public institutions, which they'll probably cease to do (once they havetheir own location)." *The impact of the booming art market on artists who seem deeplyaffected by the pressure to conform to market forces and adapt their work.Each of the 100 artists is featured over four pages with a selection oftheir work together with a commentary by the curator who selected them, anexhibition history, and a bibliography.Every curator also selects aSource Artist, namely any artist from any previous generation whom theyfeel remains of key significance either to art at large or to his or herown thinking.ICE CREAM is a dynamic showcase of the next big flavors of the year.Itprovides a glimpse of what the future may hold and is a must-have forcollectors and for anyone who follows or is beginning to explore thecontemporary art scene.

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To cut, or not to cut.
Ooh, La La!!
Horrible book Design,
fun book, good introduction
No Thank You

Fresh Cream
Editors of Phaidon Press
Manufacturer: Phaidon Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 0714839248

Amazon.com

The 100 artists in this second installment of a biennial publication (Cream was the first) were chosen by 10 curators from cities as far-flung as Moscow, London, Bangkok, and New York. Asked to select individuals "who have emerged internationally since about the mid-1990s or have yet to emerge at all," the curators chose such widely known video and installation artists as Doug Aitken, Vanessa Beecroft, Jason Rhoades, and Paul McCarthy, as well as those whose identifies would stump the most dedicated art-journal reader.

With so many video, performance, and installation works that beg to be seen in real time and space, this book is a poor substitute for an exhibition. Based on the evidence at hand--a dozen or fewer photographs representing each artist's output and brief descriptions by the curators--the cream only rarely rises to the top.

For this reader, the exceptions include Uta Barth's blurry photographic glimpses of what we see when we're focusing on something else; Doris Salcedo's eloquent furniture memorials to the sufferings of her fellow Colombians; Janet Cardiff's unsettling sound pieces; Annika Eriksson's quietly subversive community-participation events; Heri Dono's politically charged versions of traditional Japanese art forms; and witty paintings by Joanne Greenbaum, Laura Owens, and Elizabeth Peyton. --Cathy Curtis

Book Description

From its plastic pillow packaging to its passages of almost unreadable peach-colored type on white paper, this tall, skinny book is no stranger to the high-concept bias of contemporary art in the '90s. Fresh Cream demonstrates the continuing bull market for extreme depictions of the body, retreads of once subversive strategies, and work heavily informed by advertising imagery. The 100 artists in this second installment of a biennial publication (Cream was the first) were chosen by 10 curators from cities as far-flung as Moscow, London, Bangkok, and New York. Asked to select individuals "who have emerged internationally since about the mid-1990s or have yet to emerge at all," the curators chose such widely known video and installation artists as Doug Aitken, Vanessa Beecroft, Jason Rhoades, and Paul McCarthy, as well as those whose identifies would stump the most dedicated art-journal reader.With so many video, performance, and installation works that beg to be seen in real time and space, this book is a poor substitute for an exhibition. Based on the evidence at hand--a dozen or fewer photographs representing each artist's output and brief descriptions by the curators--the cream only rarely rises to the top.For this reader, the exceptions include Uta Barth's blurry photographic glimpses of what we see when we're focusing on something else; Doris Salcedo's eloquent furniture memorials to the sufferings of her fellow Colombians; Janet Cardiff's unsettling sound pieces; Annika Eriksson's quietly subversive community-participation events; Heri Dono's politically charged versions of traditional Japanese art forms; and witty paintings by Joanne Greenbaum, Laura Owens, and Elizabeth Peyton. --Cathy Curtis

Customer Reviews:

To cut, or not to cut. .......2006-01-01

The Cream series by Phaidon has become almost as important to the artworld as any major biennial, and the introduction of any new book usually is on the lips of the art glitterati for months afterwards. Obviously because the curators who pick out the artists in the Cream series are very good at picking out artists who usually go onto have important careers on the international scene. For anyone interested in the future of the artworld, the Cream series is your best bet. Nothing has so accurately predicted what we will be looking at. This Cream is no exception to the fineness of the series. Phaidon has continually pushed the envelope in the presentation of their works, this Cream comes in a lusciously weird plastic bubble which begs to be a work unto itself. I debated for days on whether to cut it open or just buy another one. In the end I settled for photographic documentation and subsequent vivisection. The book itself is absolutely stunning. True to it's namesake it comes in a creamy faux leather bound cover with the most subtle augmentations in its construction, itself resembles an alien product. The pictures are terrific and take up easily 95% of the book, biographies preseding the works of the artists, most of whom are exceptional. The curators didn't make the mistake of falling into rubbish and filling the book with to much colorful pop oriented tripe like most artbooks these days. Many curators make the mistake of thinking that if they make it look like Las Vegas the artworld will come, and for the most part that is very true, but that would just be inappropriate for the study Phaidon wants to make. If you're looking for something outrageous I recommend anything associated with Saatchi or Deitch. The curators made a great attempt at displaying really thought provoking work which fits nicely into a dialogue on the state and future of the international art scene. This is an absolutely beautiful and important book and great for any serious follower of the contemporary art scene.

Ooh, La La!!.......2003-09-11

Rarely does a book's presentation make you squeal before you actually open it, but WOW!!! Don't buy this one used if you can help it! It comes packaged in it's very own blow-up pillow, and unless you know something I don't know, you have to destroy the pretty packaging in order to look inside!

The book itself is several years out of date now, but still remains one of my top favorite resources for contemporary visual and performance art. Always filled with unique and exciting imagery from around the globe, the Phaidon Cream series is rich in content, as well as presentation!!

Horrible book Design,.......2002-10-12

The best thing about the book, was that it came in the clear plastic floater thingy. For an artbook this is a horrible design, its hard to look at, the pictures are small becuase of the deminsions of the book, it works better as a sculputer or even a life raft then a book, which is ruined once you open it.

As for the art it contains, well I guess they call it "cream" because the cream always rises, backed up by the fact that it comes in a bag that will float to the top. Well, judging by the art/artist withing the book, they should have designed it as a target, because its hit and miss.

There is some really good and interesting stuff, but far too much endulgent junk,I'm surprised they didn't include that artist that does enema art. It is definately pro new media, instillations, video etc. and that stuff is hard to document adequately for presentation in a book, much less a book as badly designed as this. But maybe that is where this book succeds the most, the design is as kitchy(spelling) as the work it contains, excluding the actually good interesting stuff.

This is bad example of the artworld trying to find the "new thing" by displaying artist that are trying to find what I call "the thing", the enema artist, the aids artist, the womens issue artist, the gunpowder artist, the process orientated artist, the elephant dung artist, ya know the kind of artist that focus on the "thing" instead of making great art. Most are in search of their little hook. So the few good artist in the book get overshadowed by all the imature/cliche/insearch of the "thing"/asthetically unaware artist and the horrendous design of the book.

If you still buy it, don't open it, just put it on your shelf because it seems cool, which is probably what was intended in the first place and how the artist were selected for inclusion.

fun book, good introduction.......2002-01-01

I bought this book at the MoMA in November 2000, because I had the first one, Cream, and I enjoyed that one. In physical dimensions, I think Fresh Cream was an improvement from the horizontally wide and floppy paperback binding of Cream. The packaging itself was an interesting addition, and rather appropriate in the context of what this book presented, but in the manner of not judging a book by its cover, the packaging takes a back seat to the contents.

This book, like the first, is a good introduction to one of the edges in modern art, and allowed me to learn more about artists whose work i had seen, and new ones. Concepts are what drive revolution and change in art, and while it isnt possible to include each and every concept behind each and every single work of art ever produced, Fresh Cream did well by providing brief insights into the leading concepts behind the most contemporary work which has been recognized in galleries and shows.

I rated this book at a 4, not a 5, since the book is not as readable as I'd like it to be, and could have done without some artists, as well as included some others. Strictly speaking of content, I liked the first one, Cream, better.

No Thank You.......2001-02-17

This book is the acme of the deadend of Modernism. Phaidon is a great press, but why keep publishing books celebrating artists whose commodity is clever ideas? I'd rather see well-crafted images and intriguing subject matter (whether verism, abstraction, or in between) than one more High Concept catalog. It's a beautifully made book, thanks, but no thanks.

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David Robbins: Ice Cream Social
David Robbins
Manufacturer: JRP/Ringier
ProductGroup: Book
Binding: Paperback

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ASIN: 2940271550
Release Date: 2005-08-15

Book Description

After David Robbins achieved art-world success with his exhibition Talent in 1986, in which he reimagined Cindy Sherman, Jeff Koons, and Richard Prince as entertainers, he became disenchanted with the New York scene and returned to his hometown of Milwaukee, Wisconsin. There, he began to pursue performance art and dot painting in the context of the small-town tradition of the ice-cream social. The first social was held at a local Baskin-Robbins. For it, the artist used the company's trademark pink and brown logo colors in his work.. Over the following decade, he expanded the project into live events in other cities (complete with free ice cream), a TV pilot, and a feature movie script. These derivations, together with digital designs presented here and a novella from 1998, map the full extent of this idiosyncratic exhibition model, in which Robbins seeks to extend "art context attitudes" and experimentation into the mainstream. A pioneer in this regard, he has inspired other artists, like Pierre Huyghe in this direction.

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CREAM Contemporary Art in Culture
Carlos ; Francsesco Bonami, Dan Cameron, Okwui Enwezor, Matthew Higgs, Hon Hanru, Susan Kandel, Rosa Marinez, Asa Nacking, Hans Ulrich Obrist, Gilles Deleuze, Chris Kraus, Julia Kristeva, Edward Said, Toni Morrison, et al (Phaidon staff) Basualdo
Manufacturer: Phaidon
ProductGroup: Book
Binding: Paperback
ASIN: B000JV3MVO

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CREAM: CONTEMPORARY ART IN CULTURE
et al. (Basualdo, Carlos Francsesco Bonami, Dan Cameron, Okwui Enwezor, Matthew Higgs, Hon Hanru, Susan Kandel, Rosa Marinez, Asa Nacking, Hans Ulrich Obrist, Gilles Deleuze, Chris Kraus, Julia Kristeva, Edward Said, Toni Morrison, etc.). PHAIDON PRESS
Manufacturer: Phaidon
ProductGroup: Book
Binding: Hardcover
ASIN: B000JWY6BS

FRESH CREAM: CONTEMPORARY ART IN CULTURE: 10 CURATORS 10 WRITERS 100 ARTISTS

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FRESH CREAM: CONTEMPORARY ART IN CULTURE: 10 CURATORS 10 WRITERS 100 ARTISTS
N/A
Manufacturer: Phaidon London and New York
ProductGroup: Book
Binding: Hardcover
ASIN: B000IWLH66

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