In his current exhibition, X-Scapes, Sayre Gomezs pastiched visions of Los Angeles suffuse urban alienation with the lurid glow of a sunset existentialism particular to the coastal West, land of limitless absurdity.
In the case of Resilience, the forces responsible for its production are entirely predictable: his estate in all its authority. Thus, it comes as no surprise that the exhibition is exactly what one might expect. The work is masterful. The catalogue is handsome. The curatorial premiseto showcase the artworks Guston made in the year following the Marlborough-Gerson controversy while in residence at the American Academy in Rome (and shortly thereafter), and thereby reinforce his mythos as a phoenix for the modern painteris compelling.