We Promote Knowledge & Love is a social practice performance art project created by Shani Peters that borrows the aggressive street advertising tactics of pawnbrokers in low-income communities as a vehicle to promote knowledge, wisdom, self-empowerment and love rather than commerce, material value, or monetary wealth. It is designed to upset attributions of value and incite re-evaluations of both outright and passively held notions of worth. The project engages the community in which it is enacted through the dissemination familiarly designed flyers that encourage uncommon exchange. Each flyer features insightful quotes from historical thought leaders. For the September, 2011 Parade Day enactment of the project flyers featured words from Black historical legends Malcolm X, Martin Luther King Jr., Harriet Tubman, Frederick Douglass, and Marcus Garvey. Over-sized, paper-mache heads were also created and worn for this installment which was the largest project enactment yet supported by 37 project volunteers, and 100+ grassroots Kickstarter.com backers (the successful campaign drew $3,800+ in donations). More than 10,000 flyers were disseminated.
Shani Peters - We Promote Knowledge & Love: Parade Day in Harlem, (performance shot) 2011
Artwork Description
Shani Peters
I am interested in the power of collective activity, in the identification of the self within the whole, and in cyclical patterns throughout history and generations. My work is an ongoing exercise in processing the present through analysis of the past and in cultural record keeping. I strive to connect my individual studio practice to a broader social practice art. My studio work bridges my personal experiences with the collective history of Black people. Often, it examines this history and its present circumstances through the perspective of family structures as they are microcosms for larger societal conditions. My perspective is heavily informed by my own family and by the era in which I live. I was born into the “me generation” of the socially conservative 1980’s by way of faithful Black Power era parents who live by a mantra of social responsibility. The constant programming, imagery, and instantly accessible information delivered by media/digital expansions from the 1980’s and on has also been a major determining force in my way of producing art. By appropriating semi-public sources I cross iconic signifiers of historical figures and movements such as, Black Panther Party members, W.E.B. DuBois, and Marcus Garvey, with those of fictional television characters, and contemporary cultural icons. I recompose these figures based on my perception of their historical relevance and more closely by the roles they’ve played in my personal socialization. My social practice is based in the same essential ideals that inspire my studio work: social collectivity, generational connections, and cultural record keeping, and seeks to provide tangible community service in a culturally rich, theoretical context. Today, I seek to fuse these influences by positioning one idea against, or with another, layering references through collage, print, installation, video and public art projects in an attempt to push back my own program- a new account, or record of existence.
Website: www.shanipeters.comGallery Exhibitions
Rush Arts Gallery + Resource Center
December 1-10 · Manhattan
Bill Hodges Gallery
December 2 -11 · Manhattan
Art at Bay
December 3 -18 · Staten Island
Longwood Art Gallery @ Hostos
December 7-February 1 · Bronx
Like the Spice
December 8 -18 · Brooklyn
Crossing Art
December 10-31 · Queens
