MY NAME IS LAUREN HOLTZ AND I AM STUDYING AT A NEW YORK UNIVERSITY. I AM CURRENTLY SITUATED IN THE GALLATIN SCHOOL FOR INDIVIDUALIZED STUDY WHERE I AM PURSUING A CONCENTRATION IN "ART AND AFRICANISMS: POLYRYTHM AS AN ARMATURE FOR CONTEMPORARY ART"
POLYRYTHM SERVES AS A METAPHOR FOR THE INTERACTION OF BLACK ATLANTIC WORLDS, AS WELL AS A FRAMEWORK FOR SPIRITUAL AND IMPROVISATORY RESEARCH. THIS CONCENTRATION CONFRONTS THE COMMODIFICATION OF FINE ART AND CHALLENGES THE EUROCENTRIC FIELD OF ART HISTORY. IT AIMS TO ESTABLISH MUTUALITY OF RHYTHM, SPIRITUALITY, AND ART IN AFRICAN TRADITION, HIGHLIGHTING WHY A NEW MODEL, A POLYRYTHMIC MODEL, IS REQUISITE TO CONTEMPORARY ART PRACTICES.
MY CONCENTRATION IS ANCHORED IN THE FOLLOWING QUESTIONS: HOW DOES ART CONTRIBUTE TO ONGOING DISCUSSIONS OF INDIVIDUAL IDENTITY AND COMMUNITY IDENTITY? WHAT VISUAL AND SYMBOLIC THREADS SUSTAIN THE CONNECTIONS AMONG AFRO-ATLANTIC CULTURES? WHAT IS THE NATURE OF THE RELATIONSHIP BETWEEN PRIMITIVISM AND MODERNITY IN FINE ART? HOW DOES BLACK RHYTHMICALITY SHOW ITS HAND WITHIN VISUAL ART? WHAT CAN POLYRYTHMIC ARCHIVING, CURATING, AND RESEARCH STRATEGIES OFFER TO CONTEMPORARY ART SPACES?