Shannon Ebner, The Splay Anthem, 2017, ink-jet print, 10 × 14".

Shannon Ebner

Eva Presenhuber | New York

Shannon Ebner, The Splay Anthem, 2017, ink-jet print, 10 × 14".

Since its beginnings, Shannon Ebner’s practice has investigated language’s structures, but where it once sought to make them objective by building words out of cinder blocks (among other things), it has now entered a more poetic, associative phase. Her recent exhibition, “STRAY,” contained an LP with readings by poets Susan Howe and Nathaniel Mackey as well as photographs of verses of poems that had been wheat-pasted onto the gallery’s walls. If these elements to some extent called to mind her earlier work, other moments—such as a snapshot-size portrait of Grace Dunham, or a flock of photographs, hung high on the wall, of birds in flight—felt like departures. Recalling a similar image by Felix Gonzalez-Torres, the latter works left one with a sense of longing, and yet at the same time the object of desire felt elusive.

Indeed, the show contained a slew of references that

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