Los Angeles

View of “Patrick Jackson,” 2018. Photo: Gil Gentile.

View of “Patrick Jackson,” 2018. Photo: Gil Gentile.

Patrick Jackson

François Ghebaly

Starting with its title, Patrick Jackson’s summer exhibition “DUM MUD” was a palindrome. Typeset on the invitation in large, bubbly letters dripping like cartoon blood (or perhaps more obviously like mud), the made-up word established the tone—and material—of the show. Palindromes are, after all, allegorical representations that upend the linear sequence of language and, in so doing, ping-pong time, focusing a reader’s attention equally on the form and the meaning of a word.

Staged “off-site” in the artist’s one-bedroom apartment, this unconventional exhibition invited visitors to come off a residential Los Angeleno street and into the amber glow of the artist’s living room, where orange gels coated the windows, painting a perpetual sunset, a Vegas hour. The apartment stood eerily vacant, the sparse items of furniture having been pushed against the walls. Thin bamboo blinds, dark

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