Altman Siegel Gallery 49 Geary St. 4th Floor, San Francisco, CA 94108 www.altmansiegel.com Politics, poetry and the legacy of black and white photography come together in Shannon Ebner’s explorations of language and sign systems by Christy Lange No End in Sight 88 | frieze | April 2010 Altman Siegel Gallery 49 Geary St. 4th Floor, San Francisco, CA 94108 www.altmansiegel.com Left: Shrouded Monument 2008 C-type print 103×123 cm Below left: Leaning Tree 2002/8 C-type print All images courtesy: Altman Siegel Gallery, San Francisco, and Wallspace, New York New and Wallspace, San Francisco, Gallery, Altman Siegel courtesy: All images 75×112 cm ‘Poetry is always a dying language but never a off-kilter than Adams’ – standing alone on a dead language,’ wrote Robert Smithson in his rocky outcrop in the Sierra Nevada moun- 1968 essay, ‘A Sedimentation of the Mind’. The tains. Ebner’s tree is askew, but not yet fallen same could be said now about photography. flat. The diagonal shape it defines against Shannon Ebner’s work is as much about the the white sky echoes the shape of a ‘slash’ expanding and contracting possibilities of or ‘stroke’. In works such as Leaf and Strike poetic language as it is about those of photog- (2009), she pairs a photogram of a leaf with raphy – its processes and its legacy – which a black strike on a white grid, combining a are, since the advent of digital photography, common symbol of the natural landscape both visibly dying and manifestly not dead. with the typographic symbol for cancellation, While a graduate student on Yale’s MFA a break between lines of poetry, or a choice programme in 1998, Ebner placed a portrait between two words (although the label of her ex-girlfriend in a jar of water and left ‘strike’ suggests something more violent). it there while she embarked on a road trip to The work is a simultaneous confirmation and Nova Scotia, where she hoped to track down cancellation of what Ebner calls the ‘typo- Robert Frank. Her pilgrimage to meet an icon graphical/topographical field’. It is both an of American photography was also an efface- homage to and a nullification of the heritage ment of the very same medium. When she and codes of landscape photography, as well returned and took the lid off the jar, the result as an attempt to develop another alphabet for was the blurred Portrait of My Ex-Girlfriend the medium. (1998). In 2009, for Paging Walter, Ebner Though she often takes symbolic or subjected a portrait of Walter Benjamin to the linguistic signifiers – such as the strike – and same process, submerging a photographic detaches them from their usual contexts, print in a Perspex case filled with water. The Ebner does not do this as a strictly academic, photograph’s emulsion sloughed off like dead post-Structural exercise. More often, she uses skin, leaving behind a ghostly trace of the language in unexpected and multi-layered original print. ways, with puns, palindromes and borrowed Both works suggest Ebner has a phrases. Between completing her undergrad- melancholic relationship to the heritage of uate degree at Bard in 1993 and entering Yale black and white photography, a concern in 1997, Ebner stopped photographing and also evident in her recent show ‘Signal Hill’ identified herself mainly as a poet, participat- at Altman Siegel Gallery in San Francisco. ing in the St. Mark’s Poetry Project in New To most Californians, Signal Hill is a small York and working for the writer, poet and enclave of Long Beach, named as such downtown cult figure Eileen Myles. Later, because the Native Americans who first Ebner made a work titled after Myles’ 1995 settled there lit signal fires on its peak. For poem ‘Wallpaper Bankruptcy Sale’, which Ebner, it is ‘a place to receive error messages was a tribute to the colour grey (‘It’s crazy in the wild’, a fictional location for misfiring / to be grey / in the / maw of / the monster, signals and for common codes to become / grey in / a war.’) Ebner’s print, Wallpaper faulty or contingent. It is not a coincidence Bankruptcy Sale for Eileen Myles (2008) shows that the photographer Robert Adams immor- the words spray-painted like a graffitied talized the location with his 1983 photograph slogan on a cinder-block wall. On Signal Hill, a deadpan black and white Even if Ebner describes herself as print of two spindly trees leaning precarious- someone who ‘stopped writing poetry’, ly on the cusp of a hill. For Adams, On Signal she found a way literally to insert it into Hill represented human damage to the Amer- photography with her best-known series, ican landscape, but, like many of his works, ‘Dead Democracy Letters’ (2002–6), which it also reflected his ambivalent relationship she began after moving to Los Angeles. to the decidedly Romantic photographs of his Ebner created an alphabet of large cardboard (unrelated) predecessor, Ansel Adams. letters, which she arranged in the landscape With her own tenuous, sometimes icono- to spell words that appeared as banners on clastic relationship to the history of landscape the horizon. One of her first works in the photography, Ebner calls Adams’ photograph series, Landscape Incarceration (2003), was of Signal Hill ‘a false Romantic’. Her reply, constructed on a dry lake bed in the Mojave in the exhibition ‘Signal Hill’, is the image Desert for Andrea Zittel’s ‘High Desert Test Leaning Tree (2002/8), a pine tree – even more Sites’ (2002–ongoing) and photographed April 2010 | frieze | 89 Altman Siegel Gallery 49 Geary St. 4th Floor, San Francisco, CA 94108 www.altmansiegel.com from behind, so we see how the letters are propped up with sticks. Ebner exploited the The cinder block can possibilities of the otherwise barren land- refer to third-world scape by literally inserting language into it, creating a photograph that can actually be architecture and military ‘read’. But works like these also document a fortifications, or to ‘the performative act, using the blank landscape as a background for a conceptual series, like last thing left behind Ed Ruscha did in 1967 when he drove into the Nevada desert and threw a typewriter in the wreckage when out the window of a moving car, recording something is destroyed’. the results in the publication Royal Road Test. Ebner’s photos incorporate the patina of historical works like this, as well as Robert Smithson’s ‘Mirror Displacements’ (1969), suggesting someone who has absorbed the history of Conceptual art through its black Right: The * as E//OR and white documentation. 2009 Ruscha is undoubtedly Ebner’s closest C-type print forbear in her use of language in works such 83×47 cm as Yes Tomorrow, No Tomorrow (2006) or The Below: Day Sob Dies (2005). The way she imposes Left: Involuntary Sculpture the words on a background full of nostalgic 2006 potential, as she does in erecting the word Wooden box with casters and ‘Nausea’ on a bluff above the Pacific Ocean wheels, corrugated cardboard, rebar, water-based house paint for USA (2003), recalls Ruscha’s surreal and gesso linguistic combinations and their place- 88×202×112 cm ment in dreamlike landscapes such as the Right: STRIKE Hollywood Hills or the Alps. While both 2008 C-type prints, aluminium and artists allude to charged political language, wood Ruscha’s Lion in Oil (2002) or Wall Rockets 381×394 cm (2006) are more freely associative, while Installation view of the Ebner’s RAW WAR (2006) and Democratizing Whitney Biennial, Whitney Museum of Modern Art, (2006) point more vigorously and directly New York toward the language surrounding current 2008 political events, in particular America’s involvement in the Iraq War. The political content of Ebner’s work, seen in pieces such as Shrouded (2003), in which Ebner placed the number Ebner conspicuously took the ‘Dead Monument (2008), in which the letters ‘USA’ ‘74’ on a hillside in east Los Angeles, refers Democracy Letters’ out of circulation in the are trapped in plastic as if wrapped in a to the age Martin Luther King Jr. would 2008 Whitney Biennial, when she displayed body bag, can seem incongruous with her have been when the work was made. Such her cardboard alphabet in a coffin-like wood- more conceptual interests. Though she concerns can seem too disparate and are en box spray-painted with the words ‘Sculp- insists they are direct responses to the treated too coolly here to function as active tures Involuntaires’ (Involuntary Sculpture, politicized language of war, this inflammato- political statements. Ebner reckons that she 2006). Ebner refers to this exhibition as ‘the ry content could also be a red herring; aren’t will probably be put on ‘artist’s trial’ for the beginning of my ideas about interchange- the radical slogans and political protest political content in ‘Dead Democracy Letters’, ability and modularity, and the alphabet as signage invoked in ‘Dead Democracy Let- but the series can be read more productively potential’, as she coupled the old letters with ters’ – such as Self-Ignite or Is Exploded – just in relation to the malapropisms propagated STRIKE (2008), a new, self-created font made as historicized aspects of the 1960s and ’70s by the Bush administration, as they recall its with concrete cinder blocks arranged to form as the images of performance art from the strange and unfortunate poetry such as ‘the letters on a pegboard grid of nails. But the same era? The work, MLK, Double Horizon unknown knowns’ and ‘I’m the decider’. content of STRIKE retains Ebner’s political, poetic approach to language, reading like a poem made of broken palindromes: ‘NO / IT CAN / AS IT IS / IT IS A WAR / RAW AS IT IS / IT IS AN ACTION / NO / …’ Since 2008, Ebner has increasingly adopted the solid, sculptural STRIKE alpha- bet.