Bodies and Souls: Kohler Collection

Exhibition Info
Samuel M.V. Hamilton Building
Curated by
Robert Cozzolino
“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.”
—Luis Cruz Azaceta

Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human experience, encompassing gender, sexuality, interpersonal relationships, psychological states, and connections to home. 

These methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen, to show relationships, pleasure, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity.

This is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum, the exhibition will examine prominent themes in the collection, integrating artists who are often seen independently or as part of regional communities.

Bodies and Souls is presented simultaneously with Philadelphia Love, an exhibition at the Woodmere Art Museum celebrating the gifts from Robert and Frances Coulborn Kohler by artists with Philadelphia roots and connections. 

Please select a date of March 14 or later to purchase tickets for Bodies and Souls: Kohler Collection.

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Featured Artwork: Rafael Ferrer (born 1933) El Bolero, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer, courtesy of the artist 


The exhibition will include works by Robert Arneson, Luis Cruz Azaceta, Joan Brown, Roy DeForest, Rafael Ferrer, Viola Frey, Gregory Gillespie, Juan Gonzalez, Red Grooms, Anne Minich, Gladys Nilsson, Ed Paschke, Christina Ramberg, Winfred Rembert, Tabitha Vevers, John Wilde, Didier William, Karl Wirsum, and many others. 

Artwork (Selects)

A large, vividly colored acrylic self-portrait by Luis Cruz Azaceta, expressing apocalyptic anxiety through distorted, emotive figuration.
Luis Cruz Azaceta (born 1943) Self-Portrait: Apocalypse Now—or Later? 1981. Acrylic on canvas, 72 × 120 in. © Luis Cruz Azaceta, courtesy of the artist
A textile artwork by Craig Calderwood combining paint and thread on upholstery fabric, reflecting childhood perceptions of gender through intricate, expressive detail.
Craig Calderwood (born 1987) Notes on ♀ and ♂ from My Eight-Year-Old Self, 2018. Paint and thread on upholstery fabric, 51 x 46 in. © Craig Calderwood, courtesy of the artist and George Adams Gallery
A vibrant oil painting by Rafael Ferrer titled El Bolero, blending abstract and figurative elements to evoke rhythm, movement, and cultural memory.
Rafael Ferrer (born 1933) El Bolero, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer, courtesy of the artist
A detailed oil and alkyd painting by Gregory Gillespie depicting a woman and a surreal demon figure, exploring psychological tension and inner conflict.
Gregory Gillespie (1936-2000) Lydia and Her Demon, 1988. Oil and alkyd on panel, 17 1/4 × 14 1/4 in. © The Gregory Gillespie Revocable Trust
A graphite drawing on canvas by Robert Lostutter featuring a stylized, enigmatic portrait that reflects themes of identity and introspection.
Robert Lostutter (born 1939) A Sign of My Time, 1977. Graphite on canvas, 44 × 48 in. © Robert Lostutter, courtesy of the artist and Corbett vs Dempsey Gallery
A pastel drawing by Jane Lund titled Party for Myself, depicting a solitary, intimate scene that reflects self-reflection and emotional nuance.
Jane Lund (born 1939) Party for Myself, c. 1974–75. Pastel on paper, 24 × 38 in. © Jane Lund, courtesy of the artist
An oil painting by Robert Neal titled Street People, portraying urban figures with expressive realism to highlight everyday life and social presence.
Robert Neal (1916-1987) Street People, 1986. Oil on canvas, 35 × 31 in. © Artist or Artist's Estate
A whimsical watercolor by Gladys Nilsson titled Checking Out the Other Side, filled with layered figures and surreal details that playfully explore perception and imagination.
Gladys Nilsson (born 1940) Checking Out the Other Side, 1987. Watercolor on paper, 40 × 60 in. © Gladys Nilsson, courtesy of the artist and Garth Greenan Gallery

About the Kohlers & their Collection

The Kohlers began collecting with purpose after seeing Contemporary American Realism Since 1960 at PAFA in 1981. The range of figurative work in that exhibition led them to explore a wider range of that genre among living artists in the 1980s-2010s. They followed their gut but also paid attention to the advice of dealer Allan Frumkin who told them to “buy the toughest work you can stand.” That struck a chord with the Kohlers and led them to focus on artists who made figuration relevant to their inner and social lives. 

In turns irreverent, hilarious, sensual, vulnerable, expressive of dreams and of trauma, the work reflects the full range of human experience—all the messy and multilayered conditions of being in a body. Many makers in the Kohler collection acknowledge the existence of the unseen, the alien, the frightening, that which is below the surface, out of reach, just beyond the light. The collection often favors artists unafraid to enter darkness and the unknown in order to reveal a deeper truth.

The Kohler collection also provides a way to see how artists interact with a network of friends, colleagues, and others who provide support throughout their lives. Networks of artists active in Chicago, Philadelphia, San Francisco, and western Massachusetts are prominent in the collection, but they overlap and reveal mutual interests. Understanding the relationships between artists, especially groups of artists active in specific communities, tells compelling stories about the values and the character of a place. It is a way to center people rather than style, gets at the heart of what artists care about in a particular moment and place, and brings empathy to bear on what artists depict.    


 

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