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Fresh Cream

Editors of Phaidon Press

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ISBN 10: 0714839248 / ISBN 13: 9780714839240
Published by Phaidon Press, London, 2000
Condition: Fine Hardcover
From Clayton Fine Books (Shepherdstown, WV, U.S.A.)

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About this Item

Fine in light pink paper-covered boards and still encapsulated in the fully sealed blow-up pillow as originally issued. Uncommon in this condition. Bookseller Inventory # b17991

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Bibliographic Details

Title: Fresh Cream

Publisher: Phaidon Press, London

Publication Date: 2000

Binding: Hard Cover

Book Condition:Fine

Dust Jacket Condition: Fine plastic case

Edition: First Edition.

About this title


A sequel to "Cream", this book presents new work by 100 new artists, selected by ten curators, providing a global overview of the contemporary art world. Arranged A-Z, numerous examples of each artist's work is featured alongside a brief text from the curator, and biographical information about the artist. A conversation on the Internet between the ten curators gives an insight into their curatorial practice. The cultural context in which the artists work - from philosophy, to fiction or theory - is presented by 10 contemporary writers. These are accompanied by a short blurb by each curator explaining their choice of text.


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

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