#rosalyn drexler

[secondsofpleasure]

Embrace, 1964, by Rosalyn Drexler (Purchased with the Edith Bell Fund and the Contemporary Art Revolving Fund, 2018-82-1)

#philadelphia #philly #art #museums #rosalyn drexler

[jareckiworld]

Rosalyn Drexler — The Green Apple  (acrylic and paper collage on canvas, 1988)

#Rosalyn Drexler #american art #postmodern art #feminist art

[durruti23]

Rosalyn Drexler - Home Movies (1963)

https://rosalyndrexler.org

#rosalyn drexler #home movies #1963 #1960s #movies #painting #red #blue #gangster #usa #modern art #pop art #narrative #noir #film noir #hirshhorn museum

[swampflix]

Below the Belt (1980)

There are plenty of legitimate things to complain about in the modern streaming era, from the exorbitant cost of subscribing to multiple services to the illusion of availability, which obscures the fact that most movies from before the 1990s are not currently available on any of those platforms.  Those complaints do not apply to The People’s Streaming Service™, though.  Tubi is the one beacon of…

View On WordPress

#below the belt #billy preston #brandon ledet #drama #pro wrestling #regina braff #reviews #road trip #rosalyn drexler #shirley stoler #tubi

[abwwia]

Rosalyn Drexler (American, born November 25, 1926)

Night Visitors, 1988

Acrylic and paper collage on canvas

61 x 76.5 cm

Private collection

#Rosalyn Drexler #art by women #painter

[octobertooctober]

Boston Letter 2 ((November 25, 1964), 8(9))

For her second iteration of Boston Letter, Krauss reviewed "Recent American Drawings" at Brandice University, notably featuring the works of Robert Indiana, and de Kooning; taking the opportunity to explore Pop Art which was evolving from burgeoning to becoming a more established aesthetic voice. Krauss reviewed was the Institute of Contempoary Art, "Biennale 8" featureing the works of artists featured in the Venice Biennale that year, notably Robert Rauschenberg's Tidelines. She also featured  Louise Nevelson's Silent Music VII, which was at Pace Gallery (in one of its last years at its founding Boston location.) The last review was of Rosalyn Drexler 's work at Ward-Nasse Gallery.

#art international #rosalind krauss #october to october #robert rauschenberg #louise nevelson #rosalyn drexler #art nerd #art critic #boston letter

[blakegopnik]

THE FRIDAY PIC is “Pink Winged Victory,” a 1960 sculpture by Rosalyn Drexler, from her solo show at Garth Greenan gallery in New York.

I wrote a few words about the show for today’s New York Times, but figured that this image was a bit too ... vulvic ... to run there. But here’s what I wrote about it and the other works in the show:

Thinking back on the postwar era when he emerged as a sculptor, Robert Morris said that the “great anxiety” was “to fall into the decorative, the feminine, the beautiful, in short, the minor.” What he didn’t mention: that almost all art by women was bound to be described by those adjectives, and dismissed.

That leaves me all the more astounded by the early work of Rosalyn Drexler, still working today at 96. Created in the years around 1960, the art in this show fearlessly trumpets its femaleness.

A wacky little sculpture called “Pink Winged Victory,” not quite nine inches tall, seems to be a biomorphic, almost abstract riff on the figure of Nike from the Louvre, with the addition of a prominent vulva. “Fat Lady,” a sculpture that’s barely bigger, depicts its subject as a pair of spindly green-and-black striped legs with a big pink blob proudly sitting on top — this, at a moment when plus-size women were hardly celebrated and when pinks and pastels were considered taboo in women’s art, as the critic Lucy Lippard once recalled.

At Garth Greenan, a dozen tiny drawings done in brightly colored markers could almost pass as the work of an ebullient child, except that their subjects are frankly pornographic. In the sex acts depicted, Drexler seems to dwell on the woman’s pleasure.

And yet, given that most of the objects here would barely crowd a night stand, it feels as though Drexler could not yet imagine her vision of empowered womanhood as something for full-scale public consumption. 

[ratherembarrassing]

that’s an andy warhol -some old lady pointing at a painting by rosalyn drexler

[rearte2]

Rosalyn Drexler - Me and My Shadow, 1966

[influencesformyeyes]

rosalyn drexler

[baublefobbersleuth]

Why Do I Warm to These Two Paintings?

Why Do I Warm to These Two Paintings?

Rosalyn Drexler’s “Cigarette Smoking May Be Hazardous to Your Health” (1967) in a show at the David Nolan Gallery focusing on four female art dealers who helped shape the scene on the Upper East Side. Credit… Garth Greenan Gallery. Rosalyn Drexler’s elegant painting, “Cigarette Smoking May Be Hazardous to Your Health,” is stuck with a lumbering title but sings, nevertheless. I would give it a…

View On WordPress

#art #language #painting #personal

[lawrencefineart]

The NYT gives a thumbs up to the “New York: 1962-1964” exhibition opening tomorrow at the Jewish Museum. Critic Holland Cotter calls the show, among other things, a mini survey of the rise of pop art and calls Marjorie Strider’s big, bold “The Girl with the Red Radish” the “single most dynamic Pop image “ in the show. We were intrigued to learn how instrumental the Jewish Museum was to creating the New York Scene during this period. Pictured here: “Thinking of Him” by Roy Lichtenstein, “Girl with Red Radish” by Strider and “Self-Portrait “ by Rosalyn Drexler. This is a must-see show. @thejewishmuseum #marjoriestrider #rosalyndrexler #roylichtenstein #artadvisory #retrospective #paintingoftheday #femaleartist #feministart #popart #pop #nycartist https://www.instagram.com/p/CgSvvsdLWnr/?igshid=NGJjMDIxMWI=

#marjoriestrider #rosalyndrexler #roylichtenstein #artadvisory #retrospective #paintingoftheday #femaleartist #feministart #popart #pop #nycartist

[jareckiworld]

Rosalyn Drexler — Chuck Watches Rescue  (acrylic and paper collage on canvas, 1989)

#Rosalyn Drexler #american art #postmodern art #feminist art

[chainsawpunk]

Rosalyn Drexler, Zoo Bandit Killed, 1963, acrylic and paper collage on canvasboard, 10 x 14 in. (25.4 x 35.5 cm.)

#Rosalyn Drexler #a

[thunderstruck9]

Rosalyn Drexler (American, b. 1926), Greatest Show on Earth, 1989. Acrylic on canvas, 48 x 36 in.

#rosalyn drexler #american art #f

[philamuseum]

Happy 95th birthday to Rosalyn Drexler! An early but under-recognized voice in American Pop Art, Drexler’s work often sources images from newspapers, films, or journalism. In this painting, the artist takes a photograph by Arthur Fellig—known as “Weegee”—of a couple kissing on the beach and creates an ambiguous relationship that questions the ideas of sexual conduct and consent. Imbuing the usually bright world of Pop with a sense of noir, Drexler turns her work into a psychological space of desire and danger. See this painting in our installation "Pop Art: A New Vernacular." 

“Embrace,” 1964, by Rosalyn Drexler © Artists Rights Society (ARS), New York

#Rosalyn Drexler #Drexler #happy birthday #on this day #born on this day #artist birthday #art #art museum #museum #art history #painting #Pop Art #Philadelphia Museum of Art #Philadelphia art museum #Philly art museum