Blue Corn was a potter from San Ildefonso Pueblo. She was born Crucita Gonzalez. The name Blue Corn was given to her by one of Maria Martinez' sisters during her San Ildefonso naming ceremony.
Blue Corn made her first piece of pottery at the age of three. She said her grandmother told her, "Your hands were made for pottery." That was a prophetic statement because Blue Corn made pottery for nearly her entire life.
She was born in that time when many Native American children were being educated in boarding schools. She was educated at the Santa Fe Indian School, about 25 miles from home. Both her parents died while she was away at school. Summers were spent in her grandmother's home until she graduated and was sent to live with relatives in southern California.
For a while she worked as a maid in a Beverly Hills mansion. Then she returned to New Mexico and met Artillery Sergeant Santiago Calabazas. He, too, was an orphan and was educated in boarding schools. Neither of them had graduated high school. They fell in love but World War II was on. After the war he returned to Santo Domingo and resumed his career as a silversmith. Then he and Blue Corn married. In keeping with Pueblo tradition he moved to her home at San Ildefonso.
In those years Blue Corn worked as a housekeeper for J. Robert Oppenheimer, the famous nuclear physicist who was the founder and first Director of Los Alamos National Laboratory. She began making pottery after her first son, Joseph, was born.
Blue Corn was especially known for her polychrome designs on cream-colored jars and plates. She and Santiago spent several years experimenting with different techniques, forms, clays and colors.
Blue Corn produced a significant number of redware and blackware pieces through the years. By the late 1960s she was emerging as a leader in the revival of polychrome pottery. She was known for highly polished white, cream and buff slips, which she said she produced by polishing very slowly. She also selected subtle colors of clay with which to paint her designs.
Santiago passed away in 1972 and their son Joseph took his place in helping Blue Corn make her pottery. He made a few pieces of his own, too, signing them Tho Ma Thay.
Blue Corn was known for making jars, plates, wedding vases, oval blackware lidded boxes and black-on-black owl figures. Her favorite designs included feathers, rain clouds, turtles and the avanyu (the Tewa water serpent).
She did demonstrations and exhibitions all around the country and participated in shows like the Santa Fe Indian Market and the New Mexico State Fair, earning major awards at both. In 1981 she was awarded the 8th Annual Governor's Award, the highest artistic honor awarded by the State of New Mexico.
When she died, Blue Corn had raised 10 children and they had given her 18 grandchildren and 10 great-grandchildren. She had also taught many people how to make pottery, including most of her own children. Some of them went on to become award-earning potters in their own right.
San Ildefonso Pueblo is located about twenty miles northwest of Santa Fe, New Mexico, west of Pojoaque, south of Santa Clara and straddling the Rio Grande. Although their ancestry has been traced to prehistoric pueblos in the Greater Mesa Verde area, the prehistoric pueblo at Tsankawi, in a non-contiguous parcel of Bandelier National Monument, is their most recent ancestral home. Tsankawi abuts the reservation on its northwest side.
Franciscan monks named the village after San Ildefonso and in 1617, forced the tribe to build a mission church on top of the village's main kiva. Before that the village was known as Powhoge, "where the water cuts through" (in Tewa). Today's pueblo was established as long ago as the 1300s. When the Spanish arrived in 1540, they estimated the village population at about 2,000.
That mission was destroyed during the Pueblo Revolt of 1680 and when Don Diego de Vargas returned to reclaim San Ildefonso in 1694, he found virtually all the Tewa people camped out on top of nearby Black Mesa. After an extended siege the two sides negotiated a treaty and the people returned to their villages. However, the next 250 years were not so good for them.
The swine flu pandemic of 1918 reduced the pueblo's population to about 90. Their population has grown to more than 600 since but the only economic activity available on the pueblo itself involves creating art in one form or another. The only other work is off-pueblo. San Ildefonso's population is small compared to neighboring Santa Clara Pueblo, but the pueblo maintains its own religious traditions and ceremonial feast days.
San Ildefonso is most known for being the home of the most famous Pueblo Indian potter, Maria Martinez. Many other excellent potters from this pueblo have produced quality pottery, too, among them: Blue Corn, Tonita and Juan Roybal, Dora Tse Pe and Rose Gonzales. Of course, the descendants of Maria Martinez are still important pillars of San Ildefonso's pottery tradition. Maria's influence reached far and wide, so far and wide that even Juan Quezada of the Mata Ortiz pottery renaissance in Chihuahua, Mexico, came to San Ildefonso to learn from her.
Disclaimer: This "family tree" is a best effort on our part to determine who the potters are in this family and arrange them in a generational order. The general information available is questionable so we have tried to show each of these diagrams to living members of each family to get their input and approval, too. This diagram is subject to change should we get better info.
Rose' students:
Some of the above info is drawn from Pueblo Indian Pottery, 750 Artist Biographies, by Gregory Schaaf, © 2000, Center for Indigenous Arts & Studies
Other info is derived from personal contacts with family members and through interminable searches of the Internet.