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“In my work… I hope to help preserve a record of the t raditional life of our people and to educate those who know little of us\, desiring that increased knowledge and understanding will help all of us to live better with one another and with the natural world.”

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     Jonathan Warm Day Coming

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Eah-Ha-Wa (Eva Mirabal) was born in New Mexico on the ancestral Taos Pueblo homeland. Her Tiwa (Taos dialect) name\, Eah-Ha-Wa\, translates to Fast Growing Corn. She studied at the Santa Fe Indian School \, and the Taos Valley Art School. The small village was frequented by visi tors from the nation and the world—Eah-Ha-Wa's father served as a model for Anglo artists including Nicolai Fechin and Joseph Imhoff. Thus his young d aughter had plenty of exposure to the wider world and the notion of art as career choice. She began to attract attention in her family as an artist at age nineteen when she was chosen to be part of a gallery exhibition in Chi cago. Despite early contact with mainstream art\, Eah-Ha-Wa painted scenes of everyday life free of European romanticizing\, and her natural inclinati on as an artist was toward cartoons.

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On May 6\, 1943 Eah-Ha-Wa enlisted in the Women’s Army Corp and was station ed at Wright Field in Ohio. She was assigned to create a cartoon for WAC pu blications. Her character\, G.I. Gertie\, found herself in all the aspects and situations —often comedic—of military life. Eah-Ha-Wa's skill as a grap hic artist was apparent\, and she was asked to continue with the character\ , as well as to create posters for US war bonds.

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With the elevation of comic books to the graphic novel of mains tream art\, cartooning has become a common and accepted medium for Native A merican artists as well. The cartoon now captures the complexity\, fluidity and adaptive quality of the culture itself. But when Eah-Ha-Wa began carto oning\, she was arguably the first published Native American cartoonist (ma le or female)\, and one of the first American female cartoonists. After the war\, she served as Artist in Residence at Southern Illinois University fo r the academic year 1946-1947.

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The te lling of stories through storyboards and the expression of cultural history through pictures were central to Eah-Ha-Wa's style. Her murals would serve the same ends as her cartoons. Eah-Ha-Wa's mural work had begun as early a s the late 1930s\, while she was a student in the Studio\, the fine arts pr ogram established in 1932 at the Santa Fe Indian School and whose roster of alumni includes Native American artists Allan Houser\, Ben Quintana\, Harr ison Begay\, Joe H. Herrara\, Quincy Tahoma\, Andy Tsihnajinnie\, Pablita V elarde\, Tonita Lujan\, Pop-Chalee\, Oscar Howe\, and Geronima Cruz Montoya . During that time Eah-Ha-Wa received instruction in working on large mural s\, often with political themes\, and became a sought-after muralist. Her m ural work could be seen at the Santa Fe Indian School (a building-length mu ral titled A Bridge of Wings)\, at the world headquarters of Air S ervice Command\, at Patterson Field\, Ohio\, and at Buhl Planetarium in All egheny Square\, Pittsburgh\, Pennsylvania (Eah-Ha-Wa was twenty-two years o ld when she painted this mural ). Eah-Ha-Wa's attention to detail and profi cient design skills also led to commissions for many other projects\, inclu ding a major work at the Veteran’s Hospital in Albuquerque\, New Mexico.

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In July 2008 the All Indian Pueblo Coun cil\, which administers the Santa Fe Indian School\, began demolishing the old campus. Along with many historic buildings destroyed were the unique an d invaluable murals created by Eah-Ha-Wa and other art students.

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Eah-Ha-Wa's fine art tradition is being carried on by her son Jonathan Warm Day Coming\, a self-taught Taos Pueblo artist\ , storyteller and writer. Jonathan Warm Day Coming is considered a deeply i nfluential voice for his family’s homeland\, the Taos Pueblo. He is primari ly known for his colorful acrylic paintings\, which provide a visual narrat ive of the daily experiences and spiritual life drawn from his many childho od memories at Taos Pueblo in New Mexico. Mr. Warm Day Coming's daily life of participating in tribal culture\, festivals and religious events is deep ly rooted in the message of his paintings\, preserving the memories of the pastoral lifestyle\, rich cultural heritage\, and daily life intertwined in separably with nature.

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Jonathan began woodcarving as a child. Gradually\, under the tutelage of his mother Eah-H a-Wah\, he became interested in drawing. After graduating from Taos High Sc hool\, Jonathan attended Diné College in Tsaile\, Arizona\, and then studie d art at the University of New Mexico. In his work\, careful homage is paid to his mother\, but Jonathan's style is clearly his own. Warm Day Coming o ffers a contemporary visual expression\, giving the viewer a unique and can did view into the intimate communal life of Taos Pueblo.

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Jonathan Warm Day Coming's paintings have been shown at The International Museum of Art\, El Paso\, Texas\; Castellani Art Museum of Niagara University\; and most recently at The Museum of Indian Arts and Culture\, Santa Fe\, New Mexico\, where he was the only living artist featu red in the exhibition Native American Picture Books of Change. His work is on display in Santa Fe (Hotel Santa Fe)\, and is included in many private and institutional collections.

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Warm Day Coming's Last Supper gained wide interest as a result o f its political connotations. The painting depicts a Taos Pueblo family sit ting in their home in the Pueblo\, during a meal\, looking through a window at silhouetted Spanish conquistadors riding by. He painted it in response to a visit to the Southwest by dignitaries from Spain: “Although the Hispan ic community was looking forward to their arrival\, there was a different f eeling about the visit on the part of the Native American community because it brought to mind old wounds” (Jonathan Warm Day Coming). Turner Publishi ng Company has asked to use the image in its publication\, The Native A mericans. The painting has also been featured in a college history tex tbook\, First Peoples\, A Documentary Survey of American Indian History  by Colin G. Calloway\, a professor of Native American Studies at Dart mouth College. It was also used in a grade school history book\, Perspe ctives: Authentic Voices of Native Americans\, published by Curriculum Associates.

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Jonathan Warm Day Coming 's first book\, Taos Pueblo Painted Stories\, was published in 200 2 by Clearlight Publishers of Santa Fe\, and is now in its third printing. The stories are drawn from both Jonathan’s personal experiences and his fam ily’s oral traditions. An article about the book was featured in the Decemb er 2005 issue of New Mexico Magazine. Warm Day Coming also illustr ated Kiki’s Journey\, a childrens’ book written by Kristy Orona Ra mirez and published by Children’s Book Press of San Francisco.

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Currently Warm Day Coming is devoting part of his time to researching and gathering a collection of his mother’s artwork\, h olding true to the Pueblo’s religious and cultural traditions\, and looking forward to the completion of his first novel.

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     Jina Brenne man\, Curator of Collections and Exhibitions

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DTEND:20130505 DTSTAMP:20141123T134335 DTSTART:20130209 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY: Joint Exhibition\, Jonathan Warm Day Coming\, Eah-Ha-Wa UID:258440 END:VEVENT BEGIN:VEVENT DTEND:20130209T170000 DTSTAMP:20141123T134335 DTSTART:20130209T100000 GEO:36.4059793;-105.5771041 LOCATION:Harwood Museum of Art\,238 Ledoux Street \nTaos\, New Mexico 87571 SEQUENCE:0 SUMMARY: Joint Exhibition\, Jonathan Warm Day Coming\, Eah-Ha-Wa UID:258441 END:VEVENT END:VCALENDAR