Biography / Administrative History
Scope and Content of Collection
Title: Linda Vallejo Papers
Identifier/Call Number: CEMA 76
University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural
Language of Material:
Online items available
Vallejo [Linda] Papers, 1975-2001. Photographs, slides, posters, correspondence, publications and ephemera of the Chicana
painter, sculptor, printmaker, and founder of Galeria Las Americas. (CEMA 76).
For current information on the location of these materials, please consult the library's online catalog.
General Physical Description note:
4 linear feet (7 document boxes, 2 3-ring binder boxes, and 1 oversize box
Selected digitized images from this collection on Calisphere.
Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or
quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given
on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply
permission of the copyright holder, which also must be obtained.
GUIDE TO THE LINDA VALLEJO PAPERS, CEMA 76, Department of Special Collections, University Libraries, University of California,
Donated by Linda Vallejo, 2001.
Biography / Administrative History
Linda Vallejo is an acclaimed Chicana painter, sculptor, printmaker, and founder of Galeria Las Americas. Linda Vallejo’s
personal collection, established in CEMA in 2001, represents a broad spectrum of her work and includes photographs, slides,
posters, correspondence, publications and ephemera. Vallejo was born in East Los Angeles and was a graduate of Whittier College
and also studied lithography at the University of Madrid. Vallejo received her MFA degree from California State University,
Long Beach in 1978. Born into a military family, Vallejo’s father served as a colonel in the Air Force and as a diplomat and
she consequently spent much of her growing up years traveling with her family throughout the United States and Europe. At
the young age of seven, Vallejo had already determined she wanted to go to college and become an artist. In the early 1960’s
Vallejo was in Montgomery, Alabama at a volatile time that the public schools were just being integrated, and the riots and
violence affected her deeply. Her work has been exhibited extensively in one-woman shows and group shows in major museums
and galleries throughout the United States, as well as Mexico. She also has been a visiting lecturer at various institutions,
including the Museum of Contemporary Art in Los Angeles, at UCLA, UC Irvine, California State University Long Beach, and Compton
College. Paintings and sculptures by Vallejo may be found in the permanent collections of institutions such as the Carnegie
Museum, the Santa Monica Museum, Arizona State University, and Self Help Graphics and Art. Vallejo has worked in printmaking
and sculpture but her present medium of choice is in painting. Vallejo describes herself as “an indigenous Chicana” and as
such, her work is highly symbolic and allegorical and is infused with Native American, Mexicana, and Chicana spiritual traditions.
Scope and Content of Collection
The Linda Vallejo Papers has seven series and consists of personal papers, correspondence, materials relating to exhibitions,
documentation of and from various organizations, photographs and slides, and publications including magazines and newspapers.
Vallejo was meticulous about maintaining documentation and records of her activities and it is reflected throughout the collection.
By cross referencing dates or titles it is possible to trace the development of gallery shows or exhibitions from initial
and ongoing correspondence located in
Series II: Correspondence through promotion such as exhibition posters, invitations and publications located in
Series III: Exhibitions to reviews and write-ups which are located in
Series V: Publications. Also, Vallejo kept many of the photographs and slides of her and her work that were used for publications purposes, as well
as those images of other artists that she used for various projects both personally and with Galeria Las Americas. These images
can be found in
Series VI: Visual Material. Even though Vallejo was careful about giving titles and dates to files and documents, extremely few materials in the
Audio Visual series contain titles or dates and have therefore been left in their original order (see series description of
Series IV: Organizations and
Series VI: Visual Material).
Series I: Personal and Biographical, 1975-2001. This series spans three boxes; two 3-ring binder boxes and one document box. There is one subseries,
Autobiographical Portfolio, which was created by Vallejo to represent herself and her body of work in the manner in which she regards herself and her
work. Contained within the document box are a considerable number of artist statements and résumés, as well as interview transcripts,
contracts and invoices, one project proposal for Dia de los Muertos in East Los Angeles, 1980 and one grant proposal to the
California Arts Council, 1978-1979. Except for the Autobiographical Portfolio, which comes first in the series, the rest of
the series is arranged alphabetically.
Series II: Correspondence, 1977-1998. This series contains both incoming and outgoing correspondence, all of which is arranged chronologically by year. A large
bulk of the material found here is incoming correspondence from galleries and organizations that were interested in exhibiting
or obtaining Vallejo’s work, however there are also a few personal correspondences from Vallejo to friends and family members
documenting some of her activities and interests.
Series III: Exhibitions, 1977-2001. This series represents a variety of materials (invitations, posters and publications) documenting various group and solo
gallery shows and exhibitions in which Vallejo was involved. This series is arranged alphabetically by title and chronologically
Series IV: Organizations, 1978-1991. This series represents correspondence and notes to and from various organizations with which Vallejo has been affiliated.
Of particular interest in this series are the folders pertaining to Galeria Las Americas, which reflect Vallejo’s efforts
as a founder as well as her efforts as an artist. This series is arranged alphabetically by title.
Series V: Publications, 1977-2001. This series contains published articles and reviews about Vallejo’s work as well as published interviews with the artist in
a variety of publications: books, magazines, newspapers and press releases, including some miscellaneous publications as well.
The series is arranged alphabetically by title and chronologically within titles.
Series VI: Visual Materials, 1980-1985. This series is divided into two subseries:
Slides. The subseries
Photographs contains photographs of various subject matter, including Vallejo’s work, her work space (various studios are photographed),
and Vallejo herself (either with her work or alone as series of portraits). Most of the photographs are not dated and have
therefore been left in their original order to preserve provenance. The subseries
Slides contains 226 slides and is organized according to CEMA’s standard slide taxonomy. It is important to note here that there
are two folders titled
Slides and Photographs; these are much like the photographs in that they are not dated and have therefore been left in their original order to preserve
provenance. A separate catalog of slides is also available in the appendix.
Series VII: Oversize. This series contains materials that have been removed from their original folder placement for the sake of preservation. In
cases where material has been removed, an indication has been made in both the original folder and the oversized folder as
to the content’s origins. This series is arranged alphabetically by title.
Subjects and Indexing Terms
Women artists -- California.
Mexican American artists -- California.