Shani Peters

2016- Exhibition at the Steele Hall Gallery on the campus of Bennett College (one of two all womens HBCU's in the country) considers the Black American history specifically as it relates to cycles of collective protest through the Civil Rights era, and into the present.  The collage prints in the series feature a color pallet reflects both burning flames and setting suns, lavender incense oil, and physical light to evoke both a sense of healing and motivation for the continuing fight of its subject matter.  The wood panels are created via laser cut, flame burned into wood.  This works in the show consider the role of restorative self-care in the context of collective political struggle, the paradoxical yet imperative challenge of locating peace amid turmoil.  Self-care for Self-Determination Exchange Sessions were a key component of the exhibitions programing.

2016- "Coronations are grand ceremonies that indicate a single transferring of power. In The Crown Futures, artist Shani Peters has worked with our Museum to partner with young people in disseminating the empowering message of self-determination.

The anchor of this exhibition is Shani’s piece entitled The Crown Installation. This work was initially produced in 2014 for inclusion in If You Build It, an exhibition curated by No Longer Empty to christen Broadway Housing Communities’ seventh affordable housing effort. In 2014, Shani’s canopy of crowns captured the extraordinary light affiliated with the history of this neighborhood and featured paper interpretations of crowns from African, Indigenous American, and European monarchies; honoring the layers of her heritage.

Shani’s exhibition in the Museum is the first to be produced under the guise of the Artist-Children’s Collaborative, a hands-on art making program, led by an artist through which children play a lead role in the development and creation of a new art work or installation. In preparing for this exhibition Peters focused on the core concept of her 2014 installation--self-determination. To lead children through her artistic practice, which is rooted in social justice principles, the artist facilitated a 5 week art making program that included discussions of power, class, and stressed the importance of loving one’s self by prompting children to design crowns with materials inspired by their individual heritage. The laser cut paper sculptures on view are Shani’s abstractions of collages that children have fashioned from locally sourced materials. The crowns in this installation are indicative of each child’s family members, and future aspirations."

-Lauren Kelley, Curator

2016- The African’s experience in the America’s has been grounded in brutality and trauma. Through eras of forced enslavement, Reconstruction, Jim Crow, both clearly stated and veiled every-day racism, and now the most commonly perceived egregious police injustice and abuse of power, Black people have exercised unimaginable degrees of determination to simply survive and persevere.  The work in this exhibition is the most recent exploration in the theme of imagining crowns as symbols for Self-Determination and the complexity of the experience of the African people following the Trans Atlantic Slave Trade that my series The Crown has reflected on for the past few years.  These new works begin to explore what Self-Determination means specifically for Black Americans situating both historical and contemporary images of Black Americans engaged in focused political protest within the visual narrative of The Crown project.  

James Baldwin is famously stated, “Our crown has already been bought and paid for, all we have to do is wear it.”  These works illustrate the price that was and continues to be paid.

2015- The Crown’s Round 43 iteration the project targeted it’s focus more precisely on economic self-determination.  In partnership with two small, women owned bookstore businesses in my home communities of Harlem, NY (Blacknuss: books & other relics, Sharifa Rhodes Pitts) and Detroit, MI (DittoDitto Books, Maia Asshaq), this iteration of

The Crown featured the sale of merchandise from both stores and hand-printed tote bags designed especially for the round with it’s conceptual intersection of economy and self-empowerment in mind.  In the midst of installation designed to generate and inspire thoughts of collective value and determination, visitors were be able to purchase knowledge based goods from POC business owners representing communities similar to their own.  Participation in Round 43 also included screen-printing workshops with area youth and adults. 

2015- "Shani Peters' The Crown: Contemporary Construction of Self in America seeks an understanding of what she refers to as the "possibilities and perils that lie within" the process of self-determination.  The tandem installations in GalleryDAAS and the Institute of the Humanities Gallery are the most recent iteration of The Crown, which was first installed in 2014 at a new affordable housing development in Harlem, NY, and later that year, in an art space in Harare, Zimbabwe.  In each of these installations the crown, specifically the wearing of the crown, is used as a metaphor for self-determination and a celebration of blackness, of what it means to be Black.  Each installation has been different, the result of Peters' strategically deploying this powerful metaphor for the particular audience encountered at the venue.  Here at the University of Michigan, her primary audience is our Black students, though her message has relevance for all who will experience her installations."

Raymond Silverman, Director's Statement

2014- This project iteration brought The Crown to Harare Zimbabwe and featured it's first public portrait session.  Sitters were given a copy of their portraits.  This exhibition also created the significant opportunity for inter-Diasporan dialougue around shared, though disconnected, ancestry and contemporary opportunities for self-determination.

2008- A floor collage of a repeated print of a family photo of Sean Bell (murdered by NYPD officers on the day of his wedding) with his now widow and their first child.  The work's elements (silk, lace, candles and intentional floral reference) attempt to convey the tension between the celebration of weddings and the grief of funerals.