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GA They’re incredible. I first witnessed the quilts of at the Boston Museum of Fine Arts when I was a student at MECA. I went to The Met this summer and saw the show and just recently went back to see the work — it is stunning. I have thought about their space of making, and how they come together and how we use fabric.I sort of have a similar story where we used fabric all the time, whether it was clothing or whether it was fabric. When I was young, my mother would sew bands of Calico onto my pants because I was growing so tall, so fast, but I was skinny. My mother couldn’t keep me clothed. I was very active too and running around and playing in the mud as all kids should be.

I think she sewed these calico strips on the bottom of my pants. Then when my knees would wear out, she would sew these patches of hearts or whatever on my knees. We saved fabric. My aunt, of course, the quilt maker, would buy fabric and she had lots and lots of it. There was a fine line between saving and saving too much. I’ve always been aware of this fine line.

I want to use everything, and I don’t want to have too much.I’m a big sharer, I share fabric, and I share things, I think that’s important. If it’s not useful to you anymore, share it. This comes from my indigenous side. The giving of your wealth is really important. It’s never for profit; I’d rather make someone’s day with it. My dear friend says, “You have to give to receive.” A Gee’s Bend quilt. Photo by Myron M.

Beasley.MB And how does that relate to your Broken Treaty Quilts and the Gee’s Bend quilts?GA When I started the Broken Treaty Quilts series, a big part was the fabric and the fabric kit — I call them kits or bundles, they’re 48 to 100 different fabrics. Probably a half or a third of every single kit has used or reclaimed material. Some of it is from my family: my mother and my sister will find things in their closets and say, “Oh, this is cotton, Calico. Gina would like this,” and they send it to me.

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I have used my former father-in-law’s dress shirts; he passed away in 2013.What I learned from Gee’s Bend is that the fabric is not perfect, it has stains; there was evidence of a previous life, another youth. That, to me, is important in my growth as an artist. It’s also essential in indigenous communities that everything is used. Everything is used, whether it’s an animal, a hide, the bones, everything is used.

So, in an archive, it is a living object because it was once a living object. However, it’s also a living object because every single part of it played a huge role in the survival of a community, and the learning and the passing down of skills. Then with that comes the passing down of oral traditions and history. If we don’t keep it alive, if we don’t keep the tradition of coming together, bringing it back, keeping it healthy, then it will not last, we know that. Each one of us brings different stories in the language together, and we share them so that they continue to thrive.I was just in Baltimore at a, and I had an incredible experience with a local group of quilt makers. There were many different groups of quilt makers who came together for this social fabric symposium.

I met two African-American quilt makers; Glenda Richardson. They are bringing a community together.

They are generating so much love for their community. They create quilts every Wednesday night; they bring the students to work with them, they teach skills of quilting. I brought a broken treaty quilt to share with them and they shared some of their quilts with me.

For example, Rosalind shared this quilt with me made from used denim. It was made from her daughter’s clothing from junior high and high school and her grandson and granddaughter’s clothing from the time they were two and four. It included her son’s work pants, dress pants, it was all parts of the denim, from the waistbands, even the snaps were intricately sewn into the quilt.

The quilt as a whole just told this incredible story through the used fabrics.At one point Rosalind held my hands, and we talked about the children, how in the assimilation of Native American children being taken away from their families. She said, “You know, it’s happening at the borders right now. History’s repeating itself.” Quilting is just not about the craft, but histories, about family history, about the importance of community, and it is also political. Engaging at the quilting bee allowed us to talk about activism, and in a highly intelligent manner.MB If I could return to the concepts of politics and identity, how do you situate yourself as an artist? Would you consider your work a socially engaged practice? How might your native American ancestry be negotiated in your practice as an artist?

I understand the cultural-political quagmire this question contains but I ask in light of of your work by critic Lucy Lippard in which she opines, “For those artists who still feel responsible to a near or far traditional community, the goal is to make art that is both satisfying to the individual maker and comprehensible, attractive, or provoking to many in and beyond these communities. It’s not an easy balancing act.” I continue to think of Stuart Hall’s of the continued negotiation of identity, particularly through colonization.GA It is complex. Lucy is speaking probably of a couple of different groups of artists or groups of artists who have an understanding, and they have a knowledge of the community.

And no matter what, whatever you see from the outside of a community is always entirely different when you’re inside the community. I think what Lucy wrote was very, very accurate and inviting the viewer/reader in to consider a complexity that is much, much richer than anyone could imagine.

Detail of one of Gina Adams’ Broken Treaty Quilts.MB What does the Broken Treaty project mean to you? Any ideas about future projects you are considering?GA My next major project is, I want to do this 50 quilt exhibitions, 50 states, 50 treaties, to 50 different communities. Also, I want the collection to travel. This will be a big project and I have been gathering quilts for it.

The entire exhibit must remain together as it travels, because I want it to become a conversation about a social movement. I want to have larger conversations about Native American history and culture. I continually state that this work is not just about myself, but rather this work is about creating sincere change and having the treaties be recognized, and understanding that this history has to be taught in a better way.Gina Adams’ Broken Treaty Quilts are currently on view as part of the exhibition, curated by Risa Puleo at Blue Star Contemporary in San Antonio, Texas, through January 6, 2019.You can see more of Gina’s work at her website. Beasley, Ph.D. Is Associate Professor in the areas of Cultural Studies, African American Studies, and Women and Gender studies at Bates College, USA.

His ethnographic research includes exploring the intersection of cultural politics and art and social change, as he believes in the power of artists and recognize them as cultural workers. He has conducted fieldwork in Morocco, Brazil, the US and currently in Haiti. The Andy Warhol Foundation, the Whiting Foundation, National Endowment for the Humanities and most recently the Reed Foundation (The Ruth Landes Award), have awarded him fellowships and grants for his ethnographic writing about art and cultural engagement. He has also been recognized for his teaching (awarded teaching awards) and work in the area of pedagogy from the International Communication Association, Ohio University, and Brown University.

His writing has appeared in many academic journals including The Journal of Poverty (which he served as guest editor for a special issue on the topic of Art and Social Policy), Text and Performance Quarterly, Museum & Social Issues, The Journal of Curatorial Studies, Gastronomica, ELSE and Performance Research. He is also an international curator.-Posted in, and tagged,.

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