National Portrait Gallery, Smithsonian Institution; acquisition made possible through the Smithsonian Latino Initiatives Pool, administered by the Smithsonian Latino Center.
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Scope and Contents:
The Joe Lopez papers and Gallista Gallery records measure 1.7 linear feet and 32.93 GB and date from 1966 to 2016. The collection is comprised of biographical records that include interviews with Lopez, autobiographical writings by Lopez and writings by others, printed and digital materials, artwork, and photographic and moving image materials. Records for the Gallista Gallery include trademark files and legal records pertaining to the lawsuit against Lopez by E and J Gallo Winery over the use of the word "gallo."
Series 2: Writings, circa 1997-2002 (Box 1; 6 folders)
Series 3: Gallista Gallery Records, 1990-2016 (Boxes 1, 3; 0.8 linear feet, ER07; 7.53 GB)
Series 4: Printed Materials, circa 1975-2015 (Boxes 1-3; 0.4 linear feet)
Series 5: Artwork, circa 1990-2008 (Boxes 2-3; 5 folders)
Series 6: Photographic and Moving Image Materials, circa 1985-circa 2010 (Box 2; 0.2 linear feet, ER08-10; 6.10 GB)
Biographical / Historical:
Joe Lopez (1945- ) is a painter and founder of the Gallista Gallery (1996-2016) in San Antonio, Texas.
Lopez grew up in El Barrio Escondido, a neighborhood in San Antonio. He was introduced to art through his Uncle Basilio, a folk artist. While a student at St. Anthony Shrine School, Lopez gained the attention of one of the nuns which led to a scholarship to attend the Witte Museum Art School. He also attended La Villita School of Art, the San Antonio School of Art, and was awarded a scholarship to McNay Art Museum school. Lopez trained with artists Warren Hunter, John Squire Adams, Finis Collins, and Jesus "Chista" Cantu. Because Lopez was born with one hand, artist Jesse Treviño was an inspiration to Lopez for his ability to paint with one hand.
Lopez's paintings often feature gallos, the Spanish word for roosters, because they symbolize strength and pride in Chicano and Mexican American culture. Lopez opened his own gallery in 1996 because he was having difficulty booking exhibitions at other galleries. The original name of the gallery was Puro Gallo, and he changed the name to Gallista Gallery in 1998. Gallista was coined by Lopez to describe those who supported him during a five year court battle with E and J Gallo Winery. The wine company initiated the lawsuit against Lopez over the use of the word "gallo." The gallery became a bedrock of the community, fostering the talents of local Latino artists long after the lawsuit ended.
Early in his career, Lopez worked in the art department for Dillard's and Centeno's supermarket before becoming employed in the graphics department at Fort Sam Houston, a U.S. Army post in San Antonio. He retired in 2007 from Fort Sam Houston after 22 years.
Lopez's work has been exhibited at the McNay Art Museum, Laguna Gloria Art Museum, and other museums throughout Texas. His paintings have been featured on posters and covers of music albums including Taquachito Nights: Conjunto Music from South Texas produced by Smithsonian Folkways Recordings and Puro Gallo by Los Padrinos.
Provenance:
The Joe Lopez papers and Gallista Gallery records were donated by Joe Lopez in 2016.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
The donor has retained all intellectual property rights, including copyright, that he or she may own.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
103 Oral Traditions / Arnold Herrera, Charles J. Aguilar.
Local Numbers:
FP-1998-CT-0211-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1998.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Conjunto Music / Flores, Amadeo y su Conjunto. Accordion,Bajo sexto.
102 Ranching Culture / Clemente Zamarippa, David Champion, Michael Blakeman.
Local Numbers:
FP-1998-CT-0212-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1998.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
104 Conjunto Music / Flores, Amadeo y su Conjunto. Accordion,Bajo sexto.
101 Rio Conversations / Michael Blakeman.
Local Numbers:
FP-1998-CT-0214-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1998.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Recorded in: Washington (D.C.), United States, June 29, 1991.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
104 Fiddle Workshop / Marie Kubowski, Ron Poast, Tilford Bagstad. Fiddle,Hardanger fiddle.
Local Numbers:
FP-1998-CT-0057-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1998.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Conjunto Music / Flores, Amadeo y su Conjunto. Accordion,Bajo sexto.
102 Women and Sustainable Development / Dolores Venegas, Maria Elena Russom.
Local Numbers:
FP-1998-CT-0204-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 24, 1998.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
![view Los Texmaniacs - "Por una mujer casada (Because of a Married Woman)" [Live at Ruben's Place] digital asset number 1](https://i.ytimg.com/vi/5GLZNGUeHY0/default.jpg)
![view Flaco Jiménez & Max Baca - Me voy lejos (I'm Going Far Away) [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/6OI9zxza56U/default.jpg)
![view Flaco Jiménez & Max Baca - 'Legends & Legacies' [Interview Video] digital asset number 1](https://i.ytimg.com/vi/DRt1Up_Pjuc/default.jpg)
![view Flaco Jiménez & Max Baca - "Margarita, Margarita" [Studio Session] digital asset number 1](https://i.ytimg.com/vi/OI9m5wkK3_s/default.jpg)
![view Los Texmaniacs - "Marina" [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/OK0IEv_yp9c/default.jpg)
![view Los Texmaniacs - "La Chicharronera" [Live Performance Video] digital asset number 1](https://i.ytimg.com/vi/mZ13g4L0Q-Y/default.jpg)
![view Serenata Guayanesa - "Simón, Simón" [Studio Session] digital asset number 1](https://i.ytimg.com/vi/nBHqtpXJ1QE/default.jpg)
![view Flaco Jiménez & Max Baca - "Beer-Drinking Polka" [Studio Session] digital asset number 1](https://i.ytimg.com/vi/uwBCWWlLXTA/default.jpg)
![view Los Texmaniacs - "Ay te dejo en San Antonio" [Behind The Scenes Documentary] digital asset number 1](https://i.ytimg.com/vi/YFRmrf239nU/default.jpg)
