Robert Kohler and Frances Coulborn Kohler trusted their gut and personal taste when they bought art. What took shape was a collection celebrating identity, community, and self-expression.
Robert Kohler and Frances Coulborn Kohler trusted their gut and personal taste when they bought art. What took shape was a collection celebrating identity, community, and self-expression.Soon after they had moved to Philadelphia in 1973, Robert Kohler and Frances Coulborn Kohler went to Boston’s Pucker Safrai Gallery and saw Jane Lund’sFour self-portraits of the artist born in 1939 — with shoulder-length hair — sitting at a table.
One of the women in blue looks at the viewer and invites us in with a smile. Another wears a flower crown and sits with a plate of fish. Another is topless except for a blue beaded necklace and a hat with pointy horns. The last one has her hair slicked back and mouth wide open. Her skin is a ghastly blue.“We hated it! How could anyone choose to live with such a thing, we asked ourselves,” Robert Kohler writes in a recent essay.The Lund painting was the first of many the Kohlers would go on to acquire — all featuring human figures. Hundreds from that collection are part of the “Bodies and Souls” exhibition on view at Woodmere and the Pennsylvania Academy of the Fine Arts. “It stuck in our minds,” Kohler writes of the Lund painting in the same essay, featured in the show’s catalog, “and we independently realized that our strong feelings were a good sign.” The show’s curator, Robert Cozzolino, who was a senior curator at PAFA from 2004 to 2016, first met the couple when working on another PAFA show in 2006. “Then I went to visit their house and was blown away by how they collected by their own gut feelings and personal taste,” Cozzolino said. “They weren’t following any trends. They were not paying attention to what the market told them, or collectors. They were using their own eyes and their hearts, and that’s the thing that I think really amazed me.”“Rob would, occasionally, bring to my attention art he was thinking of acquiring with Frances, and we would talk about it. They also acquired some things for PAFA,” said Cozzolino.“We had been collectors since the late 1960s, not of fine art, but of art crafts: artisanal objects made or viewed as art,” writes Robert Kohler, who was a historian of science and a professor at the appear alongside Philadelphia’s Anne Minich and former PAFA and now Rutgers professor Didier William , who was born in Haiti. When put into the brackets of their artistic movements, artists may often seem like people creating only in conjunction with other artists around them, but “Bodies and Souls” and the Kohlers’ collection bring forth networks of cross-regional kinships, said Michelle Donnelly, PAFA’s curator of 20th century art and the John Rhoden Collection. Nilsson is best known for her work in Chicago, but she lived in Sacramento for a brief period of time. There she met artist Robert Arneson and became good friends with Roy De Forest — all artists in the Kohlers’ collection bequeathed to PAFA. The Kohlers’ gift of Evelyn Statsinger, said Thomas, fills a gap in PAFA’s collection of Chicago artists, and while the museum had Joan Brown’s art, the Kohlers’ collection makes PAFA’s collection “fuller and deeper.” Figurative art is essentially an insertion of one’s self, a decision to put one’s body in the center of a piece. Queer bodies, aging bodies, people of color, immigrant bodies, bodies pushed away to margins often find a home in this style. “Empathy and vulnerability is at the center of the Kohlers’ collecting practice,” said Donnelly. “And they were really interested in artists who were turning to themselves and their personal relationships to generate empathy.” “Ultimately, I think it’s about humanity,” said Thomas. “It’s giving space for people, for artists, to represent humanity and compassion on many levels, and to be vulnerable, but also confident enough to make that statement in your artwork, and that’s inspiring. It’s courageous and it’s very human.”“Rob and Frances’ engagement with the arts is really an interest in communities of artists and regional communities of artists across the country. And living in Philadelphia, of course, they were engaged with the artists of their city, of their community,” said William Valerio, the director and CEO of the museum. While the PAFA show gives viewers the national scope of the Kohlers’ collection, the Woodmere show, Valerio said, “tells the local story.” The Kohlers, he said, “are looking at American art as a whole, and they’re looking at Philadelphia’s contribution to the overall narrative and the multifaceted conversations around American art.” Artist Twins Seven Seven was born in Nigeria but lived and worked in Philadelphia. His work, therefore, stands at an intersection of Philadelphia and America when drawing out the scope of America’s art and the story it tells about itself. “Woodmere has collected Twins Seven Seven aggressively,” said Valerio. “And Rob decided there were two works of art that were kind of a pair . Rob said, ‘You know, PAFA should have a piece by Twins Seven Seven.’ So both pieces were purchased. One came to Woodmere to build the collection of living artists of Philadelphia.” The Kohlers’ background in science, he said, made them “deeply intellectual people interested in the transformations that they’re seeing in their city daily. And that shows up in the works they collected.” It also “led them to gravitate toward work that is visually detailed and grapples with natural life cycles with questions of decay,” said Donnelly. What emerges, thereafter, is a world of artwork that creates a space for everyone — the San Francisco trans artist Craig Calderwood , Minich drawing her aging body, Irene Olivieri exploring kinship and connection through a human-animal hybrid in“What stands out to me, again and again, are artists really unafraid to explore identity… artists really asking, ‘Who am I? How do I relate to the world?’” said Cozzolino speaking from Minneapolis days after “It’s not overtly political but it’s about the politics of seeing one another, and seeing yourself and really being able to articulate what matters about identity.” “Bodies and Souls” runs through July 12 at PAFA’s Fisher Brooks Gallery, Samuel M.V. Hamilton Building, PAFA, 128 N. 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