In Part: Writings by Julie Ault

Copublished with Galerie Buchholz in 2017
Edited by Julie Ault and Nicolas Linnert
Design by Filiep Tacq
276 pages, hardcover with jacket, 6 x 9 inches
ISBN: 978-0-9986326-4-3


Spanning more than three decades, this book brings together a full spectrum of the artist, writer, and activist’s published texts through carefully selected extracts in a singular volume. Reprinted in sequence alongside a selection of full-length texts, this series of excerpts contours a chronology that reveals Ault’s continuous artistic growth, long-standing political concerns, and dynamic interpersonal affinities. Beginning in the 1980s with texts written with her collaborators in Group Material, In Part highlights Ault’s shift from exhibition making in the mid-1990s to include publishing and writing. Ault’s dialogic practice, extends to the present day through her sustained engagements and relationships with such artists as Corita Kent, Felix Gonzalez-Torres, Nancy Spero, and Martin Wong.

Praise and Press

[a] . . . thoughtful, carefully constructed collection of Ault’s selected writings from the 1980s through today.

—Madeline Weisburg, Brooklyn Rail

In Part is an unconventional book. Ault offers no framing prologue, no view of the past from the present. (Instead, a third-person introduction is supplied by critic Lucy Lippard, a veteran of the Group Material era.) . . . It is also a book of art writing without images. This lack of pictures spotlights In Part’s idiosyncratic design, which in turn expresses a central component of Ault’s sensibility. The book contains many instances of a paragraph facing a fully blank page . . . The space surrounding the text excerpts is . .  hospitable to imagination. An enterprise like In Part is always a form of self-portraiture; in Ault’s hand it’s also a mirror.

The final words of In Part provide an invitation to reinscribe our histories today and reclaim our desires. Musing about the past and the future, Ault invokes David Wojnarowicz . . . “My search takes the idiosyncratic route . . . to articulate what it is about David Wojnarowicz that moves me so,” she writes. “I don’t know what I’m looking for. I want to let go of time, lose myself in discovery. . . . David’s voice paves the path, arousing trust and warmth for a man I never met, a man whose soulfulness revolutionizes.” This poetic message typifies Ault’s hybrid approach. At their best, her essays couple the insight and intellect of critical writing with the affective immediacy of art.

—Robert Atkins, Art in America

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