By Eric A. Eliason
Jesus, matadors, panthers, bandits, Indians, motion picture stars, waifs, and, after all, Elvis are famous icons of the oft-despised, uber-kitsch paintings kind of black velvet portray. In Black Velvet Art writer Eric A. Eliason and photographer Scott Squire current a accomplished evaluation of this covertly-loved and overtly-reviled tradition.
In cooperation with a community of artists, creditors, importers, and gallery proprietors in Tijuana, l. a., Seattle, and Calgary, this e-book attracts from the biggest survey of velvet portray ever undertaken. The booklet strains velvet’s ancient improvement as a folks paintings formed by way of either indigenous traditions in addition to Western shopper expectancies in such markets because the South Pacific, Southeast Asia, and especially the U.S./Mexico border and the black velvet capital of Tijuana. In black velvet, category and flavor problem paintings as a client phenomenon, democratic spirit faces down elitism, copy questions originality, and sexuality seduces and provokes religiosity.
What is most vital approximately black velvet paintings to many americans is its signaling of the nadir of undesirable flavor. Black velvet is the “anti-art” in lots of methods. Eliason seeks to discover how and why black velvet serves this functionality and to check methods it merits a gleaming redemption.
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