“NeoIntegrity”

This gallery is currently emanating some seriously positive vibes. Upon entering “NeoIntegrity,” a group exhibition curated by artist Keith Mayerson, viewers are immediately flanked by emblems of love—on the left by Lisa Kirk’s Hope’s Tree, 2007, a copper beech into which is carved a heart dedicated to the artist’s mother, and on the right by the late Wendy Moore’s photograph of a traffic sign–turned–amorous missive, Can’t Stop Loving You, 1994. Emotions continue to soar throughout this densely packed 190-artist show.

In an assembly this large, there are bound to be some misses, yet despite the exhibition’s chaotic feel, the hits here truly resonate. The tender visage depicted in Jack Pierson’s Franz Kline–like painting Melancholia Passing into Madness (7), 2006, presides lovingly over the scene. The gilded frame and gold paint of Michael Bilsborough’s Commiserate Commemorate, 2007, a sweet homage to River Phoenix, indicate reverence for both the actor and the curator, whom the piece addresses directly: I MISS HIM TOO, KEITH. Also notable are Tom Palumbo’s 1950s and ’60s black-and-white photographs of Jack Kerouac, Miles Davis, and Mia Farrow, who appear solemn and deeply pensive.

While most anyone could draft a personal list of favorites, the real strength of “NeoIntegrity” lies in its theme: “‘real’ artists making ‘real’ art for ‘real’ reasons.” This message, however, proves bittersweet; it is somewhat distressing to need reassurance that artists “still make work for themselves.” Nevertheless, the show provides a welcome combination of the idealistic and the down-to-earth. It’s high time we were offered a little positivity.