afterlife — Julie Ault — Exhibitions

Julie Ault

“afterlife”

13 November 2015 -
16 January 2016

opening reception on Thursday,
12 November, 6-9 pm

Julie Ault
afterlife

12 November 2015 - 16 January 2016
opening reception on Thursday, 12 November, 6-8 pm

Alfred A. Hart’s stereoscopic photograph of tree stumps cut by the Donner Party in the winter of 1846 marking the height of the snowfall that stranded the emigrants in the Sierra Nevada on their migration west. Martin Wong’s compassionately rendered 1985 painting of a closed Avenue B storefront depicts a casualty of irrevocable gentrification. Julie Ault’s essay “Dishes, Diaries, and Cemeteries” speaks about her great aunt’s planned redistribution of household belongings after her passing. Matt Wolf’s slide show gives insight into his exploration of the assembly of personal treasures in David Wojnarowicz’s “Magic Box” . . .

afterlife, Julie Ault’s first exhibition at Galerie Buchholz, expands from her contribution to the 2014 Whitney Biennial and, in Ault’s words, “unites artworks, artifacts, texts, and publications as equivalent participants in a conversation about disappearance and recollection.” Without declaring themselves as belonging to the realm of artworks or non-artworks, fiction or fact, the elements composing afterlife suggest their potential as records of the past, items that relay meaning between the living and the dead, and the present and the absent.

Two paintings and three hand-lettered drawings by Martin Wong
A slide show by Matt Wolf
Three photographs by David Wojnarowicz
Three photogravures by Danh Vo
An interview with Marvin Taylor
An apparition concerning Liberace
A sculpture by Robert Kinmont
A stereoscopic photograph by Alfred A. Hart
Two paintings and a multiform work by James Benning
A photograph and a publication (and errata) by Martin Beck
A composite essay by Julie Ault
Artifacts and documents from The Downtown Collection
An anonymous ledger drawing
A crate of personal effects

Julie Ault (b.1957) is an artist, curator, writer, and editor who works independently and in collaborative constellations. Ault’s recent projects include Nancy Spero: Codex Artaud, 2015, and the collectively organized Tell It To My Heart, Museum für Gegenwartskunst Basel, Culturgest, Lisbon, and Artists Space, New York, 2013 - 2014. Ault was a founding member of the New York-based collaborative Group Material (1979-1996) and is the editor of Show and Tell, 2010, which chronicles the group’s practice. Spanning nearly four decades Ault’s expansive work has taken many forms, addressing the political, personal, and collaborative dimensions of art.

Martin Wong

“FDNY”, 1998
acrylic on canvas
152.5 x 122 cm
installation view Galerie Buchholz, New York 2015

Martin Wong

“FDNY”, 1998
acrylic on canvas
152.5 x 122 cm

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Active Recollection: Marvin Taylor in conversation with Julie Ault, 2014

David Wojnarowicz

“Untitled from Ant Series (time/money)”, 1988
gelatin silver print in artist frame
102 x 124 cm

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Hidatsa ledger drawing, c. 1875
colored pencil on paper
18.5 x 31 cm

Alfred A. Hart

“Stumps cut by Donner Party in 1846”, c. 1868
from the series “Central Pacific Railroad”
stereograph
8.5 x 17 cm

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Calendar, 1989
offset printing
63.5 x 43 cm
David Wojnarowicz Papers
Fales Library and Special Collections, New York University

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Martin Wong

“Untitled (Poetry Storefront)”, 1986
acrylic on canvas
244 x 289.5 cm

Martin Wong

“Untitled (Poetry Storefront)”, 1986
acrylic on canvas
244 x 289.5 cm

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Danh Vo

“06.01.1945”, 2014
b&w photogravure on paper
46.5 x 42 cm

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Martin Beck

“Last Night”, 2013
“Last Night: Errata”, 2014
“Last Night: Errata, Vol. 2”, 2015
publications

Martin Beck

“Last Night”, 2013
“Last Night: Errata”, 2014
“Last Night: Errata, Vol. 2”, 2015
publications

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Magic Box, undated
pine box, nails, green and orange paint, masking tape
20.5 x 28 x 43 cm
David Wojnarowicz Papers
Fales Library and Special Collections, New York University
installation view Galerie Buchholz, New York 2015

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

afterlife
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Firefighter gear
given to Martin Wong by FDNY firefighters

Firefighter gear
given to Martin Wong by FDNY firefighters

Matt Wolf

“Magic Box Slide Show”, 2005-2014
15 35mm slides, projector, audio
dimensions variable
Photos: Cyrus St. Amand Polikaoff

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

Danh Vo

“Snowfall, Northern Sierras, 1847”, 2014
b&w photogravure on paper
41 x 48.5 cm

Martin Wong

Press release for Semaphore Gallery, 1984
offset printing
27.9 x 21.6 cm
Martin Wong Papers
Fales Library and Special Collections, New York University

Two original drawings for press release for Semaphore Gallery, 1985
ink on paper
27.9 x 21.6 cm; 35.6 x 21.6 cm
Collection Barry Blindermann

Martin Wong

Press release for Semaphore Gallery, 1984
offset printing
28 x 21.5 cm
Martin Wong Papers
Fales Library and Special Collections, New York University

Martin Wong

Original drawing for press release for Semaphore Gallery, 1985
ink on paper
27.9 x 21.6 cm
Collection Barry Blindermann

Martin Wong

Original drawing for press release for Semaphore Gallery, 1985
ink on paper
27.9 x 21.6 cm
Collection Barry Blindermann

David Wojnarowicz

“Untitled (man with ants)”, 1988
vintage gelatin silver print
14 x 19 cm

James Benning

“After Howard”, 2013
house paint on plywood
32.4 x 95.5 cm

James Benning

“After Tolliver / Self Portrait”, 2013
house paint on plywood
53,5 x 43 cm

Julie Ault

“afterlife”, 2014 - 2015
“Addendum”; “News Release: U.S. Marshals to Auction Unabomber’s Personal Effects”; “Dishes, Diaries, and Cemeteries”; Janet Malcolm, “The Silent Woman,” opening spread, The New Yorker, August 23, 1993
printout on paper, type transfer, magazine

Julie Ault

“afterlife”, 2014 - 2015
“Addendum”;
“News Release: U.S. Marshals to Auction Unabomber’s Personal Effects”

Julie Ault

“afterlife”, 2014 - 2015
“Dishes, Diaries, and Cemeteries”;
Janet Malcolm, “The Silent Woman”, opening spread, The New Yorker, August 23, 1993

Julie Ault

“afterlife”, 2014 - 2015
“Dishes, Diaries, and Cemeteries”

Julie Ault

“afterlife”, 2014 - 2015
Janet Malcolm, “The Silent Woman”, opening spread, The New Yorker, August 23, 1993

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015

David Wojnarowicz

“Untitled (Face in Dirt)”, 1990
gelatin silver print
47.5 x 49 cm
Collection Gary Schneider

Robert Kinmont

“Watercolor chest of drawers”,
1972-73
pine, wings, feathers and paper
38 x 101 x 70.5 cm
installation view Galerie Buchholz, New York 2015

Robert Kinmont

“Watercolor chest of drawers”,
1972-73
pine, wings, feathers and paper
38 x 101 x 70.5 cm
installation view Galerie Buchholz, New York 2015

Robert Kinmont

“Watercolor chest of drawers”,
1972-73
pine, wings, feathers and paper
38 x 101 x 70.5 cm
installation view Galerie Buchholz, New York 2015

Julie Ault

“afterlife”, 2014 - 2015
“Ipso Facto”

Julie Ault

“afterlife”
installation view Galerie Buchholz, New York 2015
with mirrored passageways
inspired by Liberace (1919 -1987) as seen in one of his
Las Vegas homes