Preparatory collage for fashion editorial published in the August 28, 1966, issue of Fashion of the Times, the New York Times. (Antonio Lopez’s drawing and Juan Ramos’s photograph, 1964).

Estate of Antonio Lopez & Juan Ramos Gifts Forty-Seven Works to El Museo del Barrio

El Museo del Barrio announced today that it has increased the breadth of its Latin American and Latino art collection after it received a historic forty-seven-work gift from the Estate of Antonio Lopez & Juan Ramos—the largest it has ever made to a cultural institution.

The donation, which follows the museum’s popular 2016 exhibit “Antonio Lopez: Future Funk Fashion,” includes works by Lopez, Ramos, Carlos Rodriguez, and Matthew Olszak. El Museo del Barrio will be responsible for the conservation, exhibition, and continued research of the works.

Paul Caranicas, director of the Estate of Antonio Lopez & Juan Ramos, said, “The donation of these works reflects the depth of their practice and artistic ideology: portraits of the break-dancers they worked with from the neighborhood they loved, archived materials from their educational lectures, and high-fashion editorial drawings that demonstrate the inspiration they derived from Harlem's vibrant culture.” He added, “Antonio and Juan were, and continue to be, pioneering figures in the intertwined histories of art, fashion, and design, and I am delighted that these important works will remain a part of El Museo's growing collection.”

In a statement the museum said, “Lopez and Ramos were monumental artists. Beyond their contributions as brilliant fashion illustrators and creatives, they were also trailblazers—well ahead of their time as they challenged notions of beauty, gender, and sexual identity promoting diversity and openness through their works and collaborations.”

The Estate of Antonio Lopez & Juan Ramos preserves and promotes the work and legacy of Lopez and Ramos, celebrating their contribution to art, fashion, and history. The estate builds upon Ramos’s diligent organization and conservation of the process and practice of his and Lopez’s diverse careers. Ramos maintained a collection of their original drawings, tear sheets, journals, archived materials, and photographs from their travels to New York, Paris, Milan, Tokyo, and other cities from 1964 until Lopez’s death from complications related to AIDS in 1987. The estate was administered by Ramos until his death in 1995. Since then it has been directed by Caranicas, an artist as well as Ramos’s partner of twenty-four years.