It’s part of the good news of some of the things going on at PAFA.
The show is “Light, Line and Color,” 237 works on paper from PAFA’s collection, some of which are brand new, some of which have never been seen, and some of which have not seen for a generation. It’s in the new Fisher Brooks Gallery on the first floor of the new Hamilton Building, a gargantuan space that has been reconfigured into more manageable spaces (see my post on the space when it opened).
The really good news is that this exhibition marks the first major curatorial effort here by PAFA Assistant Curator Robert Cozzolino. Cozzolino (see Roberta’s post including some words on Cozzolino and his arrival) said when we took the tour of the exibit on Friday that his academic field of interest is recent painting and graphic arts. But right after he arrived at PAFA, he was assigned this show. He admitted his surprise but then ran with it, examining each of the 12,000 paper pieces in the archive. He has created a coherent and ebullient show that traces art historical themes in American prints and drawings and other paper media while incorporating plenty of what is going on in paper today.
The tour
Cozzolino chatted away as he took a small group of us, including Roberta and me, around the exhibit. Occasionally, the exigencies of last-minute installation issues drew him away as we ambled around the gallery, but the show stood on its own without need of pumping up, and Cozzolino proved to be a source of all sorts of information, like the number of pieces in the Academy’s paper archives–12,000 pieces. “I went through everything, every flat-file drawer.”
Cozzolino said the exhibit is “a snapshot of the strengths of the collection.”
There’s not much overlap with the last such survey, curated in 1986 (by Kathleen Adair Foster, who is now curator of American art at the Philadelphia Museum of Art). The lack of overlap between the two exhibits is partially because since then PAFA has “bought really well and has gotten great gifts,” Cozzolino said. Those additions all make the collection more cohesive, he added. “I’ve also bought to fill in gaps. And [PAFA Curator of Contemporary Art] Alex Baker, who buys contemporary art, has bought some since September.”
Looking at the bright side of what it means to have small budget to spend on art, Cozzolino said, “We can do works on paper really well and show what the academy tradition has really meant.”
The show is divided into six sections. (I have to confess I gave The Academic Tradition section short shrift.) We started with portraits and self-portraits. One of the images making its debut here is the John Singleton Copley “Portrait of John Scollay,” (acquired in 1987, too late for the previous show).
A trip through time and taste
At this point I fell right off the categories, but who cares? There’s so much terrific work in this show that I just want to give it a thumbs up.
Modern times
But let me blab about a few more things: The hilarious “Pussy and Herbert: Their Second Date” by Gladys Nilsson comes out of the Hairy Who. It’s an image of people as cartoony animals with sweet pink genitals doing the dance of romance (right, “Pussy and Herbert: Their Second Date”).
Speaking of the Hairy Who, Cozzolino mentioned that PAFA just bought a “great Jim Nutt” from 1969 from Fleisher-Ollman Gallery. It’s a reverse painting on a window shade, he said, and gallery still has it–up now at Art Basil.