Lois Rudnick & Jonathan Warm Day Coming
Date, Time & Location
About the Event
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To purchase Eva Mirabal: Three Generations of Tradition and Modernity at Taos Pueblo, click here.
Throughout her lifetime, Eva Mirabal’s (Eah-Ha-Wa, Fast Growing Corn, 1920–1968) paintings and murals received national acclaim. After her death in 1968, Eva’s teenage sons discovered a treasure trove of her life story. In a huge pine box that she had nailed shut, she placed scores of her drawings; family photographs; diary entries; newspaper clippings; and hundreds of letters related to her life and work that she received from curators, gallery owners, friends, and teachers over the years.
Eva Mirabal studied for six years at the Dorothy Dunn Studio art program in Santa Fe, where she was a favorite of the program’s founder and served as an assistant to Dunn’s successor, Geronima Montoya (P’Otsunu, 1915–2015, Ohkay Owingeh Pueblo). By the time she was twenty years old, Mirabal was exhibiting in museums and galleries across the country.
Mirabal’s first exposure to art was through her father Pedro Mirabal who was a popular model, along with Eva’s father-in-law Geronimo Gomez, for members of the Taos Art Society and for modern artists who came to Taos as part of Mabel Dodge Luhan’s circle. Pedro sat for a bronze bust created by Maurice Sterne and for a portrait by Nicolai Fechin, Pietro, now in the collections of the Eiteljorg Museum of American Indians and Western Art. Gomez, one of the leaders of the Peyote religion at Taos Pueblo, is the non-traditional figure depicted in Ernest Blumenschein’s controversial painting Star Road and White Sun.
During World War II, Eva enlisted in the Woman’s Army Corp (WACs) in 1943, the only WAC assigned as a full-time artist. She was very likely the first Native American woman to publish a comic strip, the feisty G. I. Gertie. During the same period, she worked on two significant mural commissions. After the war, Eva was a visiting professor of art at Southern Illinois Normal University. Following her return to Taos Pueblo, she studied at the Taos Valley Art School on the GI Bill.
About the Authors
Lois Rudnick is Professor Emerita in American Studies, University of Massachusetts Boston. She has published widely on the art, history, and artist communities of the Southwest. Rudnick lives in Santa Fe, NM.
Jonathan Warm Day Coming is considered a deeply influential voice for his family’s homeland, the Taos Pueblo. He is primarily known for his colorful acrylic paintings, which provide a visual narrative of the daily experiences and spiritual life drawn from his many childhood memories at Taos Pueblo in New Mexico. For more info, click here.