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Rosalyn Drexler Artworks

American Painter, Playwright, and Novelist

Rosalyn Drexler Photo
Movements and Styles: Pop Art, Appropriation Art, Appropriation Art

Born: November 25, 1926 - The Bronx, NY

Artworks by Rosalyn Drexler

The below artworks are the most important by Rosalyn Drexler - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Put it This Way (1963)

Put it This Way portrays the moment of action just after a man wearing a suit, positioned in the center of the canvas, has slapped the woman positioned below him. His right arm is extended across his body, hand open, inches from her shoulder, whilst the woman, dressed in a low cut dress, faces out towards the right of the canvas. Her head is thrown back with her shoulder-length hair flowing behind her as if she is reeling from the slap. The figures are rendered in black and white oil paint, augmented with the vivid splashes of color found in the man's bright blue tie and the woman's yellow dress. The scene is made more vibrant and the figures more stark by their placement on an electric blue background.

Like many artists connected with Pop Art in the 1960s, Drexler often used images from films to create her works, especially dark, foreboding film noir-esque images as she does here. Drexler repurposes them in a collage fashion and combines them with bright colors. Drexler used theses images to make an explicitly feminist critique, as this painting demonstrates. Popular culture of the time, and particularly film, often objectified women, placing them in roles in which they were either a villain or a victim. In a film, the act of a slap is but a quickly passing moment; but when isolated as it is here, the viewer is forced to acknowledge and confront the violent act. By identifying these moments, and reconfiguring them in her Pop-influenced style, Drexler draws attention to narrative generalizations about women and assert that the female identify is more than the narrowly defined male stereotype.

Kiss Me, Stupid (1964)

Set against a bright orange background, Kiss Me, Stupid consists of a black and white image of a couple kissing in the right foreground of the painted canvas. The man is seen from the back, wearing a red turtleneck. The woman he kisses is positioned with her face visible to the viewer with her eyes closed. She seems to be attempting to reach her left hand towards the man but he restrains her with his right fist clenched around her wrist.

A common theme in Drexler's art are collaged images of couples embracing, referencing movies and other media. The bright colors and the what - at a quick glance - can seem to be a voyeuristic intrusion on a romantic moment belies a deeper, more sinister element to the work which is discovered upon closer inspection. While the viewers eyes are first drawn to the embrace itself, it is jarring to realize that what at first seemed a consensual act may not be. The man's forceful restraining of the woman's hand as she reaches up and away from the embrace could suggest an attempt to break away or physical coercion. The movie couples of Drexler's work, as described by art historian Kalliopi Minioudaki, "...unveil violence and subjugation as the predicament of woman in love in Western society" and furthermore, through these works, "Drexler matched her exposure of women's abuse with critical contemplation of romance and its media stereotypes.

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Marilyn Pursued by Death (1963)

Marilyn Pursued by Death features the Hollywood actress Marilyn Monroe in a black skirt, white shirt and black sunglasses hurriedly rushing as if in an attempt to move off the right side of the canvas on which she is painted. Behind her a man in black pants, white shirt, and black sunglasses pursues her. Both figures are outlined in red, which makes their figures stand out vibrantly against the black background.

Drexler's depiction of Monroe is full of motion, a figure imbued with a sense of animation and vitality. Unlike other Pop artists who also used images of the famous actress as a subject, such as Andy Warhol, here the actress is not simply a two-dimensional subject. In this work, Drexler uses Monroe as a vehicle to implicitly make statements about the treatment of women in society. Despite her talent, Monroe was objectified by men and treated as a subject more than a person, as seen here as she is relentlessly pursued by a paparazzo, fan or admirer. Whilst the original photograph upon which this image is based shows that the man is in fact Monroe's bodyguard, Drexler's repurposing allows Monroe to become a representation of the objectification of women and their fight to rise above having their worth defined by just the male gaze.

Night Visitors (1988)

A brightly colored painting, Night Visitors features a dead man in a black suit slumped on a bright green floral design sofa in the right foreground. He is laying in a pool of blood that has dripped and started to collect at his feet. To his left is a large window framed with curtains that match the sofa. Outside a silver pathway shows four men in suits and hats walking ominously towards the house.

Whilst reminiscent of her work in the 1960s, for which Drexler is perhaps best known, later works like this painting are important in that they show her development by suggesting more involved and complicated narratives. Still using themes from popular culture and news sources, this work was based on a death scene photograph of famous gangster Bugsy Sigel. Federal agents are on their way to the house and the viewer is a part of the moment before they encounter the dead criminal. Although referencing this image, the narrative is full of a sense of ambiguity and mystery which Drexler wants the viewer to contemplate.

While continuing to focus on issues and imagery relating to violence that permeates the mass media, Drexler has moved beyond only representing acts perpetrated towards women by men and now is making a broader statement about violence and its media representation. As with her earlier works Drexler is importantly asking the viewer to look beyond or go deeper than what is framed in a still image and seek the fuller story beyond the curated media image.

Related Artists and Major Works

Gold Marilyn Monroe (1962)

Gold Marilyn Monroe (1962)

Artist: Andy Warhol (Read Full Artist Overview, Biography, and Artworks pages)

After her sudden death from an overdose of sleeping pills in August 1962, superstar Marilyn Monroe's life, career, and tragedy became a worldwide obsession. Warhol, being infatuated with fame and pop culture, obtained a black-and-white publicity photo of her (from her 1953 film Niagara) and used the photo to create several series of images. A common idea to all the Marilyn works was that her image was reproduced over and over again as one would find it reprinted in newspapers and magazines at the time. After viewing dozens, or hundreds of such images, a viewer stops seeing a person depicted, but is left with an icon of popular, consumer culture. The image (and the person) become another cereal box on the supermarket shelf, one of hundreds of boxes - which are all exactly the same.

In Gold Marilyn Monroe, Warhol further plays on the idea iconography, placing Marilyn's face on a very large golden-colored background. The background is remeniscent of Byzantine religious icons that are the central focus in Orthodox faiths to this day. Only instead of a god, we are looking at an image (that becomes a bit garish upon closer inspection) of a woman that rose to fame and died in horrible tragedy. Warhol subtly comments on our society, and its glorification of celebrities to the level of the divine. Here again the Pop artist uses common objects and images to make very pointed insights into the values and surroundings of his contemporaries.

Drowning Girl (1963)

Drowning Girl (1963)

Artist: Roy Lichtenstein (Read Full Artist Overview, Biography, and Artworks pages)

In the early 1960s, Lichtenstein gained renown as a leading Pop artist for paintings sourced from comic books, specifically DC Comics. Although artists such as Robert Rauschenberg and Jasper Johns had previously integrated popular imagery into their works, no one hitherto had focused on cartoon imagery as exclusively as Lichtenstein. His work, along with that of Andy Warhol, heralded the beginning of the Pop art movement, and, essentially, the end of Abstract Expressionism as the dominant style. Lichtenstein did not simply copy comic pages directly, he employed a complex technique that involved cropping images to create entirely new, dramatic compositions, as in Drowning Girl, whose source image included the woman's boyfriend standing on a boat above her. Lichtenstein also condensed the text of the comic book panels, locating language as another, crucial visual element; re-appropriating this emblematic aspect of commercial art for his paintings further challenged existing views about definitions of "high" art.

After Walker Evans: 4 (1981)

After Walker Evans: 4 (1981)

Artist: Sherrie Levine (Read Full Artist Overview, Biography, and Artworks pages)

Almost fifty years after Walker Evans took the photo of Allie Mae Burroughs, wife of an Alabama sharecropper, Levine audaciously rephotographed Evans' image. Significantly, she did not shoot the photographic print but a reproduction of the print in a Walker Evans exhibition catalog. After Walker Evans: 4, then, is a copy of a reproduction of the original photograph. Even this description, though, is a bit misleading, as there is no single "original" Evans photograph - multiple prints, all exactly the same, exist. In rephotographing Evans' photograph, Levine lays bear the paradoxes of originality and authenticity inherent in the medium. She also raises questions about how the artistic, or aesthetic, value of a work of art is wrapped up with notions of artistic genius and how that value is then monetized, based on singularity and rarity, in the art market.

Levine's conceptual project, hailed as a hallmark of postmodern art, echoes French philosopher Roland Barthes' "The Death of the Author," an essay in which he argued that it was the role of the reader - not the author - to generate and determine meaning. In fact, Levine appropriated Barthes' own words when she wrote, "A painting's meaning lies not in its origin, but in its destination. The birth of the viewer must be at the cost of the painter." By placing so much power in the hands of the viewer, that is, calling upon the viewer to question and interpret, Levine calls into question the romantic notions of the "genius" (usually male) artist who presents authentic reality and suggests instead a scenario in which images are never original and always made from multiple sources that must be parsed by the viewer.

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