At Fort Gansevoort Gallery, there is a new art exhibition with titular claim to the annual Division 1 men’s college basketball tournament.
CHICAGO — At its most rarefied levels, art as social practice seems oxymoronic. Is it possible to produce work that jars the elitist art world out of its aesthetic bliss while appearing on its sanctified white walls? Probably not. Cheryl Pope’s solo exhibition Just Yell at Monique Meloche Gallery irked me for this very reason — it is deeply entrenched in the agenda of art as social practice.
The curious history of a former retirement home for wealthy elderly people fallen on hard times and the contemporary Bronx community now surrounding that home provide rich material for the 32 artists in No Longer Empty’s current exhibit, This Side of Paradise. Sharing its name with F. Scott Fitzgerald’s first novel, which follows the trials of a man seeking and losing love, wealth and status, This Side of Paradise inhabits the Andrew Freedman Home on the Grand Concourse, a stately structure sitting behind a fence and broad lawn.