los-angeles

Shannon Ebner, Agitate, 2010, four black-and-white photographs, each 63 x 48". LAXART.

Shannon Ebner

Hammer Museum

Shannon Ebner, Agitate, 2010, four black-and-white photographs, each 63 x 48". LAXART.

For nearly a decade, Shannon Ebner has developed a quickly recognizable approach—one at the unruly convergence of photography, sculpture, and language—that insistently frames the space around and (especially) between things. Most often, these voids or breaks occur between letters and other linguistic symbols that provide the ostensible subject matter. In an earlier series of defining black-and-white images, the artist photographed words, in all caps, constructed out of flimsy cardboard and placed in desolate settings that read as literally blank fields: In USA, 2003, for example, the word NAUSEA leans woozily on a cliff above the ocean, and upon repeated viewings one might be as struck by the wild and matted chaparral occupying the foreground as the blunt word occupying the middle.

Ebner’s ongoing body of work, titled “The Electric Comma,” 2011–, which recently appeared

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