Broken Treaty Quilt #5, Gina Adams

Artwork Overview

Gina Adams, artist
born 1965
Broken Treaty Quilt #5, 2014
Where object was made: Lawrence, Kansas, United States
Material/technique: calico; quilting; cotton; dyeing
Dimensions:
Object Height/Width (Height x Width): 210 x 186 cm
Object Height/Width (Height x Width): 82 11/16 x 73 1/4 in
Credit line: Museum purchase: Gift of Roger Ward, B.A. 1976 in memory of Ralph E. (“Ted”) Coe; Peter T. Bohan Art Acquisition Fund and Judith M. Cooke Native American Art Fund
Accession number: 2015.0069
Not on display

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Images

Label texts

The Power of Place: KU Alumni Artists

For her Broken Treaty Quilts series, Gina Adams hand-cut letters from calico fabric and appliquéd them onto antique quilts. These works use language from treaties written by the United States government that were signed by Native American tribes. The intentionally vague treaties promised tribes peace, money, and sovereignty in exchange for their homelands. In most cases, the United States government willfully broke their promises to the Native peoples. Broken Treaty Quilt #5 encourages viewers to reflect on both the past betrayals and the continuing marginalization of Native Americans within the United States.

The Power of Place: KU Alumni Artists

For her Broken Treaty Quilts series, Gina Adams hand-cut letters from calico fabric and appliquéd them onto antique quilts. These works use language from treaties written by the United States government that were signed by Native American tribes. The intentionally vague treaties promised tribes peace, money, and sovereignty in exchange for their homelands. In most cases, the United States government willfully broke their promises to the Native peoples. Broken Treaty Quilt #5 encourages viewers to reflect on both the past betrayals and the continuing marginalization of Native Americans within the United States.

Separate and Not Equal: A History of Race and Education in America

In her work, Adams draws from colonial history and the experiences of her Ojibwe grandfather, who was forced to attend the Carlisle Indian Industrial School in Pennsylvania. Her series of antique, well-worn quilts, overlaid with text from treaties between the U.S. government and Native American tribes, reflect the layered and fractured relationship of European settlers and Indigenous peoples. The quilts juxtapose the idea of comfort and home with harsh treaty conditions that forced Natives from their ancestral lands. Adams wanted the applied text to be challenging to read because the language in the documents was meant to be confusing. She chose calico fabric because it was the first industrialized commodity made in the United States for export, and it financially benefited the white community. Quilting was a skill taught during the boarding school era.

Exhibitions

Cassandra Mesick Braun, curator
Celka Straughn, curator
2017
Susan Earle, curator
2020
Kate Meyer, curator
2020

Resources

Audio