Black Velvet Art

Jesus, matadors, panthers, bandits, Indians, movie stars, waifs, and, of course, Elvis are recognized icons of the oft-despised, uber-kitsch art form of black velvet painting. In __Black Velvet Art__ author Eric A. Eliason and photographer Scott Squire present a comprehensive overview of this covertly-loved and overtly-reviled tradition. In cooperation with a network of artists, collectors, importers, and gallery owners in Tijuana, Los Angeles, Seattle, and Calgary, this book draws from the largest survey of velvet painting ever undertaken. The book traces velvet's historical development as a folk art shaped by both indigenous traditions as well as Western consumer expectations in such markets as the South Pacific, Southeast Asia, and particularly the U.S./Mexico border and the black velvet capital of Tijuana. In black velvet, class and taste challenge art as a consumer phenomenon, democratic spirit faces down elitism, reproduction questions originality, and sexuality seduces and provokes religiosity. What is most significant about black velvet art to many Americans is its signaling of the nadir of bad taste. Black velvet is the ''anti-art'' in many ways. Eliason seeks to explore how and why black velvet serves this function and to examine ways it deserves a glowing redemption.

Jesus, matadors, panthers, bandits, Indians, movie stars, waifs, and, of course, Elvis are recognized icons of the oft-despised, uber-kitsch art form of black velvet painting. In Black Velvet Art author Eric A. Eliason and photographer Scott Squire present a comprehensive overview of this covertly-loved and overtly-reviled tradition.

In cooperation with a network of artists, collectors, importers, and gallery owners in Tijuana, Los Angeles, Seattle, and Calgary, this book draws from the largest survey of velvet painting ever undertaken. The book traces velvet's historical development as a folk art shaped by both indigenous traditions as well as Western consumer expectations in such markets as the South Pacific, Southeast Asia, and particularly the U.S./Mexico border and the black velvet capital of Tijuana. In black velvet, class and taste challenge art as a consumer phenomenon, democratic spirit faces down elitism, reproduction questions originality, and sexuality seduces and provokes religiosity.

What is most significant about black velvet art to many Americans is its signaling of the nadir of bad taste. Black velvet is the "anti-art" in many ways. Eliason seeks to explore how and why black velvet serves this function and to examine ways it deserves a glowing redemption.

Cover......Page 1 Contents......Page 6 Preface and Acknowledgments......Page 8 The History and Significance of Black Velvet Painting......Page 10 Black Velvet People......Page 32 Romero, Felix, and Chuy, the Artists......Page 33 William Travis Robison, Impresario of Velvet......Page 39 Rick Smith, the Collector......Page 42 Black Velvet Paintings......Page 44 Matadors and Mexicana......Page 46 Landscapes......Page 60 Personalities and Portraits......Page 74 Elvii......Page 89 Niños y Niñas......Page 100 Creatures......Page 110 Religious......Page 124 Ladies......Page 130 Horrors......Page 142 Notes......Page 150 L......Page 154 Z......Page 155 The history and significance of black velvet painting Black velvet people profiles Romero, Felix, and Chuy, the artists William Travis Robison, impresario of velvet Rick Smith, the collector Themes. Matadors and Mexicana Landscapes Personalities and portraits Elvii Niños y niñas Creatures Religious Ladies Horrors.