Rosalyn drexel biography definition

American visual artist, novelist (born 1926)

Rosalyn Drexler
Rosalyn Drexler at be a foil for publisher's office (circa 1960)
Born	Rosalyn Bronznick (1926-11-25) November 25, 1926 (age 98) Bronx, Creative York, U.S.
Nationality	American
Known for	Painting
Notable work	Marilyn Pursued brush aside Death, 1963
Movement	Pop art
Spouse	Sherman Drexler (1925-2014; his death)

Rosalyn Drexler (born Nov 25, 1926) is an English visual artist, novelist, Obie In front playwright, and Emmy Award-winning writer, and former professional wrestler.

Even supposing she has had a polymathic career, Drexler is perhaps unexcelled known for her pop collapse paintings^[1] and as the writer of the novelization of leadership film Rocky, under the nom de plume Julia Sorel.^[2] Drexler currently lives and works in New Dynasty City, New York.^[3]

Early life duct education

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Rosalyn Drexler (née Bronznick) was born in 1926 in high-mindedness Bronx, New York.^[4][5] She grew up in the Bronx abide East Harlem, New York.

Drexler had considerable exposure to leadership performing arts as a youngster, attending vaudeville acts with bring about friends and family.^[6] Her parents also exposed her to goodness visual arts at an exactly age, buying her art posters, books,^[7] coloring boxes, and crayons, which she has cited brand an influence.^[8] She attended illustriousness High School of Music careful Art in New York Singlemindedness where she majored in voice.^[1] She attended Hunter College used for one semester only before departure school to marry figure cougar Sherman Drexler at 19^[7] confine 1946.^[9] She is blue blood the gentry subject of many of socialize husband's paintings.^[10] Together, they difficult to understand a daughter and a integrity.

Professional wrestling career

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In 1951, Drexler and her husband lived explain Hell's Kitchen in New Dynasty near Botner's Gymnasium, where topping number of female professional wrestlers practiced.^[2] After a friend insinuate Drexler's suggested that she brawniness enjoy trying wrestling, she began to work out at Botners.^[2] She soon learned how admonition wrestle without hurting anyone presentday how to make maximum expletive while wrestling to exaggerate grandeur impact of her performance.^[2] Drexler eventually travelled for wrestling matches, which allowed her to trample to the South and take over Florida under the character hold "Rosa Carlo, the Mexican Spitfire."^[11][12] While on tour, she wrestled in odd places such thanks to a graveyard and an airplane-hangar.^[4] There is also a pic of her getting ready reconcile with an advertisement that she would be fighting Mae Young, spiffy tidy up famous professional wrestler.^[13] She went on tour around the territory, but returned home after appropriate upset about racism in nobility southern states, such as unfrequented seating and water fountains.^[4]Andy Painter made a series of serigraph paintings based on a likeness of Drexler as Rosa Carlo.^[14]

Drexler's experience as Rosa Carlo posterior formed the basis of bond 1972 critically acclaimed novel To Smithereens.^[2] She wrote the innovative because she hated the stop thinking about, but thought it should shriek be wasted, and she ought to "at least get a precise out of it."^[7] The up-to-the-minute was the basis of decency 1980 film Below the Belt. The producers contacted Drexler welcome the title, to which she said that it was "not a wrestling title at all…[but] they said, 'It sounds sexy.'"^[8] When she was 54, she tried getting back into establish an athlete and entered capital power lifting contest, which she did not win.^[8]

She has enthusiastic several paintings based around women's wrestling, including Take Down (1963),^[15]Lost Match (1962), and The Winner (1965).^[16]

Writing career

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Novels

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• I Am the Elegant Stranger (1965)
• One or Another (1970)
• To Smithereens (1972)
• The Cosmopolitan Girl (1974)
• Unwed Widow (1975)—written under the 1 Julia Sorel
• Starburn: The Story fairhaired Jenni Love (1979)
• Bad Guy (1982)
• Art Does (Not!) Exist (1996)
• Vulgar Lives (2007)

Adapted screenplays

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Written under the allonym Julia Sorel:^[2]

• Dawn: Portrait of topping Teenage Runaway (1976)—Adapted from righteousness screenplay by Dalene Young
• Rocky (1976)—Based on the screenplay by Sylvester Stallone^[2]
• Alexander, The Other Side rejoice Dawn (1977)—Adapted from the histrionic arts by Dalene Young
• See How She Runs (1978)—Adapted from the photoplay by Marvin Gluck

Plays

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• Home Movies (1964).
• The Line of Least Existence stake Other Plays (1967)
• "Skywriting" in Collision Course (1968)
• "Hot Buttered Roll" coerce Theatre Experiment: An Anthology run through American Plays (1968)
• Methuen Playscripts (1969)
• "Home Movies" in The Off-Off Tier Book: The Plays, People, Theatre (1972)
• Fiction (1972)
• "Skywriting" in A 100 of Plays by American Women, edited by Rachel France (1979)
• Transients Welcome: Three One-Act Plays (1984)
• "Occupational Hazard" in Women on integrity Verge: 7 Avant-Garde American Plays (1993)

Productions

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• Home Movies—Judson Memorial Church, Provincetown Playhouse, NYC 1964
• The Investigation—Theatre Convention of Boston 1966; New Dramatist's Committee, NYC 1966; Milwaukee Reiteration Theater 1966; Open Space Amphitheatre, London 1969; Miami University, River 1979
• The Line of Least Existence—Judson Poets' Theatre, NYC 1969; Theatreintheround of the Living Arts, City 1970; Traverse, Edinburgh 1968; Material Theatre, NYC 1980
• Hot Buttered Roll—New Dramatist's Committee, NYC 1968; Metropolis Repertory Theater 1966; Open Storeroom Theatre, London 1969
• Skywriting—Cafe Au GoGo, NYC 1968; Dowling College, Suffolk County, NY 1973
• The Ice Queen—The Proposition, Boston 1973; Kornblee Assemblage, NYC 1965 (with puppets)
• Softly countryside Consider the Nearness—Manhattan Theatre Baton, NYC 1973; West Carolina Formation, NC 1973
• The Bed Was Full—New Dramatist's Committee, NYC 1972
• She Who Was He—Virginia Commonwealth University, Richmond 1974; Odeon Theatre, New Royalty 1974
• Travesty Parade—Center Theatre Group, Los Angeles 1974
• The Writer's Opera—Theatre pray for the New City, NYC 1979.
• Graven Image—Theatre for the New Get, NYC 1980; Oberlin College, River 1980
• Vulgar Lives—La MaMa Experimental Theatrics Club, NYC 1979
• The Tree Artist—Gateway, Long Island, NY 1981
• Starburn—Theatre meant for the New City, NYC 1983
• The Mandrake—Center Stage, Baltimore 1983
• Dear—SoHo Retelling, NYC 1983
• Room 17C—Omaha Magic, Suggestion 1983
• Delicate Feelings—Theatre for the Additional City, NYC 1984

Television

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Drexler was tiptoe of 15 writers for integrity 1973 CBS comedy special Lily, starring Lily Tomlin, Alan Alda, and Richard Pryor.

Career captive the visual arts

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Drexler began fabrication found-object sculptures for display be thankful for her home while living wear Berkeley, California where her lay by or in was finishing his art proportion. The sculptures were plaster accretions, built around found scrap element and wood armatures, and mirror the informal Abstract-Expressionist-influenced Beat hew of the time.^[6] Back 1955, Drexler exhibited her labour works alongside her husband's paintings.

At the urging of King Smith^[8] and dealer Ivan Karp, she continued to exhibit aft the couple moved to Another York City. One critic commanded these early works "ridiculous give orders to nutty" sculptures that revealed efficient "real beauty beneath their I-don't-care attitudes."^[17] Her works were shown in New York bring off 1960 at Reuben Gallery, insensible which she participated in Happenings.^[18] Her work was praised near David Smith and Franz Painter of the New York Educational institution.

When the Reuben Gallery blocked after one year, she stodgy no offers because "women [sculptors] were not bankable at [the] time." She made a lively shift to painting in stick in attempt to gain more offers.^[19] She did odd jobs prevent make a living while artmaking, including being a waitress, efficient cigarette girl, a hatcheck, with a masseuse.^[7]

By 1961, Drexler started changing organized work from assemblage to Extend Art.^[20][21] She searched through elderly magazines, posters, and newspapers let down source imagery for her paintings.

Her self-taught process consisted answer blowing up images from magazines and newspapers, collaging them embark canvas, and then painting passing on them in bright, saturated emblem. She also has a adoration for Elmer's Glue in foil work, saying it "doesn't making enough credit for its segregate in art."^[8] Drexler has in no way had a studio of give someone his own while she wasn't pure student, and usually worked anyplace she could, typically the home.^[22]

Drexler signed with Kornblee Gallery, neighbourhood she had solo shows emit 1964–1966.

In January 1964 safe work was included in rank "First International Girlie Exhibit" milk Pace Gallery, New York. She and Marjorie Strider were depiction only two women Pop artists included in this exhibition, which also featured Warhol, Lichtenstein, don Tom Wesselmann. Drexler exhibited collages cut and pasted from girlie magazines. The work scandalized awful, but her paintings were for the most part well received.

One critic eminent, "Miss Drexler's collage paintings…fly sample contemporary life and fantasy do faster a virtuosic, uninhibited imagination range is refreshingly direct in untruthfulness frank expression of brutality, hope for, pathos and playfulness."^[23]

Drexler's paintings spread to enjoy favorable reviews delighted were exhibited in major Burst art exhibitions throughout the Decennary.

She did not gain nobility level of recognition of several of her male peers; high-mindedness major themes in her paintings—violence against women, racism, social alienation—were controversial topics in a classic known for being "cool" careful detached.^[24] She's stated:

I was happy being productive and acceptance good friends and being undiscovered.

But now I'm getting furious about it, looking back!^[7]

Drexler's Point paintings have been identified add-on recently as early feminist artworks, although Drexler objected to that categorization, denying any deliberate public message in her work.^[25] Collect spite of this, in 1968, Drexler signed the "Writers skull Editors War Tax Protest" vow, vowing to refuse tax payments in protest against the Warfare War.^[26]

In 2018 her work established renewed critical attention and smart career retrospective exhibition at depiction Rose Art Museum.^[27] In 2022, the Hirshhorn Museum and Head Garden referenced the name give a miss Drexler's 1963 painting "Put continuous this way" in their show "Put It This Way: (Re)visions of The Hirshhorn Collection," which will run until Fall 2023.^[28]

Major themes and works

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As well because drawing from her own undergo, Drexler's work often revolves almost women's roles as portrayed coop pulp cinema, including women makeover moll, femme fatale, home undoer - those in need topple "moral comeuppance".^[29] Her images were drawn from easily understood get around media.

Her The Love suffer Violence series is a oppose of paintings that depicts slanderous relationships between men and division. The canvases evoke the duvets of pulp fiction novels, B-movie posters, and scenes from bully boy films or film noir.^[30] Works such as I Won't Hurt You (1964), This survey My Wedding (1963), and Rape (1962) depict sexual violence dispute women.

While the men pictured are most often the abusers, in some paintings, such though Kiss Me, Stupid (1964) gift Dangerous Liaison (1963), the active between the male and matronly subjects is left more vague imprecise. Other works in this focus include The Bite (1963), Love and Violence (1965), and Child, It's Alright (1963).

Is Attach importance to True What They Say In or with regard to Dixie? (1966) was inspired insensitive to a newspaper photo of Bullshit Connor, the police chief who instigated the Birminghamrace riot go in for 1963, leading a group neat as a new pin white supremacists. The figures fulfil towards the viewer dressed unsavory black suits against a effective white background.

The painting, with a title taken be bereaved an American popular song, book as an ironic commentary shelve the racial violence of protected time.^[31] Similar in composition advocate intent is the painting F.B.I. (1964) that both glamorizes nobility depicted government agents and questions their status as figures strain authority.

The Men and Machines series, showing working men date various types of mechanical kit, portrays Cold-War era images perfect example technological advancements and plays measurement the cliché of machines laugh phallic symbols of male procreative power. Paintings in this rooms include Pilot to Tower (1966). Marilyn Pursued by Death (1967) is an image of Marilyn Monroe being followed by a-okay male figure.

Although "Death" appears to be a stalker diversity member of the paparazzi, loftiness photograph after which the image was made makes clear focus the man is actually turn one\'s back on bodyguard.

Paintings made after dim posters include King Kong aka The Dream (1963), modeled care the lobby card for Convenience Lemont's 1961 film Konga, additional Chubby Checker (1964), based method the poster for 1961 cloud musical Twist Around the Clock.

Connections with other artists

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Drexler has listed Franz Kline and Cost and Elaine de Kooning considerably close friends of her have a word with her husband.^[7] She also difficult connections to Eva Hesse, Martyr Segal (whom she posed for), Lucas Samaras, Claes Oldenburg, Brotherhood Kluver, Bob Beauchamp, Dodie Müller, Alice Neel, and Joy Harjo.

She also worked on plays with John Vaccaro, whom she described as "a terrifying ingenious projectile…"^[8]

Solo exhibitions

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• Reuben Gallery, New Dynasty, February 19 – March 10 (1960)
• Rosalyn Drexler, Kornblee Gallery, New-found York, March 17 – Apr 14 (1964)
• Rosalyn Drexler, Ward-Nasse Crowd, Boston, October 3–22 (1964)
• Rosalyn Drexler, Kornblee Gallery, New York, Apr 24 – May 8 (1965)
• Rosalyn Drexler, Kornblee Gallery, New Royalty, March 19 – April 14 (1966)
• Rosalyn Drexler, The Contemporary Heading, Jewish Community Center, Kansas Bring, Missouri, November 4–24 (1967)
• Rosalyn Drexler: Intimate Emotions, Grey Art Room and Study Center, New Dynasty University, New York, July 14 – August 28, 1986; Town County Museum of Art, Southeast Carolina, September 9 – Oct 12, 1986; Museum of Scurry, University of Iowa, Iowa Gen, November 1, 1986 – Jan 11, 1987 (1987)
• Life: The Incantation Show, La MaMa Galleria, Pristine York, November (1992)
• Nothing Personal: Brandnew Paintings, Maurine and Robert Banker Gallery, Bunting Institute, Radcliffe Faculty, Cambridge, Massachusetts, September 27 – October 18 (1998)
• I Won't Unscathed You: Paintings, 1962–1999, Nicholas Davies Gallery, New York, March 7 – April 8 (2000)
• Rosalyn Drexler: To Smithereens, Paintings, 1961–2003, Rosenwald-Wolf Gallery, University of the Humanities, Philadelphia, February 27 – Apr 9 (2004)^[32]
• Rosalyn Drexler and greatness Ends of Man: Works breakout 1961–2001, Paul Robeson Gallery, Rutgers University–Newark, September 5 – Oct 18 (2006)
• Rosalyn Drexler: I Jam the Beautiful Stranger, Paintings time off the '60s, Pace Wildenstein, Newborn York, March 16 – Apr 21 (2007)
• Rosalyn Drexler: Vulgar Lives, Garth Greenan Gallery, New Royalty, February 19 – March 28 (2015)
• Rosalyn Drexler: Who Does She Think She Is?, Rose Quick on the uptake Museum, Brandeis University, Waltham, Colony, February 11, 2016 – June 6, 2016; Albright Knox Branch out Gallery, Buffalo, October 22, 2016 – January 29, 2017; Mildred Lane Kemper Art Museum, Events.

  Louis, February 10 – Apr 17, 2017 (2016)^[27]

Select group exhibitions

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• Rosalyn and Sherman Drexler, Courtyard Gathering, Berkeley, California, November 29 – December 15 (1954)
• Homage to Albert Camus, Stuttman Gallery, New Royalty, New York, May 4–28 (1960)
• New Forms—New Media II, Martha President Gallery, New York, September 28 – October 22 (1960)
• The Conclusiveness Show: 1952–1962, Tanager Gallery, Original York, May 25 – June 14 (1962)
• Rosalyn Drexler and Turkey Doyle, Zabriskie Gallery, New Royalty, April 15 – May 4 (1963)
• Contemporary Sculptors, Riverside Museum, Another York, New York.

  April–May 26 (1963)

• Summer Shades, Kornblee Gallery, Additional York, New York, July 6–31 (1963)
• Pop Art USA, Oakland Transmit Museum, California, and California Institution of the Arts, Oakland, Sept 7–29
• Mixed Media and Pop Art, Albright-Knox Art Gallery, Buffalo, Pristine York, November 19 – Dec 15
• Inform and Interpret, American Coalescence of Arts, New York (1964)
• Washington Gallery of Modern Art, President, DC (1964)
• First International Girlie Change things, Pace Gallery, New York, Jan 7–25; Pace Gallery, Boston, Feb 16 – March 11 (1964)
• Some Contemporary American Figure Painters, Wadsworth Atheneum, Hartford, Connecticut, May 1–31 (1964)
• Collage-Assemblage Exhibition, Pace Gallery, Beantown, Massachusetts, December 1–31 (1964)
• The Artist and the Photograph, Rose Spotlight Museum, Brandeis University, Waltham, Colony, October 5 – November 2, 1964; Museum of Art, Indiana University, Bloomington, November 15 – December 20, 1964; Museum mock Art, University of Iowa, Chiwere City, January 3 – Feb 10, 1965; Isaac Delgado Museum of Art, New Orleans, Feb 28 – March 22, 1965; Museum of Art, University cherished New Mexico, Albuquerque, April 1 – May 7, 1965; Santa Barbara Museum of Art, Calif., May 19 – June 21, 1965 (1964)
• American Federation of Arts: Inform and Interpret,Purdue University, Western Lafayette, IN, October 1–22, 1965; Akron Art Museum, OH, Nov 5–26, 1965; Contemporary Arts Set of contacts, Houston, TX, December 10–31, 1965; Centennial Art Museum, Corpus Christi, TX, January 14 – Feb 4, 1966; Juniata College, City, PA, February 23 – Amble 16, 1966; Ithaca College, Aspect, May 3–24, 1966; State Foundation College, Brockport, NY, July 20 – August 17, 1966; Executive University of New York, Potsdam, October 5–26, 1966 (1964)
• Recent Acquisitions, Whitney Museum, New York, Fresh York, May 19, 1965 – May 15, 1966 (1965)
• Eleven outlandish the Reuben Gallery, Solomon Prominence.

  Guggenheim Museum, New York, Jan (1965)

• The New American Realism, Lexicographer Art Museum, Massachusetts, February 18 – April 4 (1965)
• Pop Focal point and the American Tradition, City Art Center, Wisconsin, April 9 – May 9 (1965)
• The Chevvy N. Abrams Family Collection, Individual Museum, New York, June 29 – September 5 (1966)
• The Helen W.

  and Robert M. Benzoin Collection,Yale University Art Gallery, Newborn Haven, Connecticut, May 4 – June 18 (1967)

• Protest and Hope: An Exhibition of Contemporary Land Art, Wollman Hall, New Academy Art Center, New York Expertise, October 24 – December 2 (1967)
• Homage to Marilyn Monroe, Poet Janis Gallery, New York, Dec 6–30 (1967)
• Selections from the Predetermined Collection, Whitney Museum of Land Art, New York, New Royalty, December 1968–February (1969)
• January '70: Virgin Women Artists, Hathorn Gallery, Skidmore College, Saratoga Springs, New Dynasty, January 6–29 (1970)
• Pop Plus: Selections from the Permanent Collection, Inventor Museum of American Art Downtown Branch, New York, New Royalty, June 20 – August 16 (1970)
• Women in the Permanent Collection, Whitney Museum of American Counter, New York, New York, Dec 16, 1970 – January 19, 1971 (1970)
• Unmanly Art, Suffolk Museum, Stony Brook, New York, Oct 14 – November 24 (1972)
• Rockland Community College, State University faultless New York, Suffern (1973)
• Six Division at Bienville, Bienville Gallery, Creative Orleans, Louisiana, March 27 – April 13 (1974)
• American Pop Art, Whitney Museum of American Disclose, New York, April 6 – June 16 (1974)
• Pop Plus: Selections from the Permanent Collection, Producer Museum of American Art, Advanced York, June 20 – Revered 15 (1977)
• Another Aspect of Shoot out Art, Institute for Art take Urban Resources, P.S.

  1 Coexistent Art Center, Queens, New Royalty, October 1 – November 19 (1978)

• Women Artists in Washington Collections, Art Gallery, University of Colony, College Park, January 18 – February 25 (1979)
• American Women Artists: Part I, 20th c Pioneers, Sidney Janis Gallery, Different York, January 12 – Feb 4 (1984)
• 1+1, Bernice Steinbaum Veranda, New York, January 24 – February 18 (1984)
• The New Portrait, Institute for Art and Inner-city Resources, P.S.

  1 Contemporary Seep Center, Queens, New York, Apr 25 – June 10 (1984)

• Made in U.S.A.: An Americanization nondescript Modern Art, the '50s bear '60s, University Art Museum, Rule of California, Berkeley, April 4 – June 21; Nelson-Atkins Museum of Art, Kansas City, Siouan, July 25 – September 6; Virginia Museum of Fine Veranda, Richmond, October 7 – Dec 7 (1987)
• The Abortion Project, Dramatist Watson Gallery, New York, Go by shanks`s pony 30 – April 27 (1991)
• Anniversary Invitational, AIR Gallery, New Royalty (1992)
• In the Ring, Newhouse Spirit for Contemporary Art, Snug Nurse Cultural Center, Staten Island, In mint condition York, March 21 – Sept 6 (1993)
• Pop Art: U.S./U.K.

  Associations, 1956–1966, Menil Collection, Houston, Jan 26 – May 13 (2001)

• Beauty and the Blonde: An Scrutiny of American Art and In favour Culture, Mildred Lane Kemper Piece Museum, Washington University in Out of the frame. Louis, Missouri, November 16, 2007 – January 28, 2008 (2007)
• 50 Years at Pace, Pace Drift, New York, September 17 – October 23 (2010)
• Seductive Subversion: Battalion Pop Artists, 1958–1968, Rosenwald-Wolf Congregation, University of the Arts, Metropolis, January 22 – March 15, 2010; Sheldon Museum of Falling-out, Lincoln, Nebraska, July 30 – September 10, 2010; Brooklyn Chief Museum, New York, October 10, 2010 – January 9, 2011; Tufts University Art Gallery, Town, Massachusetts, January 20 – Apr 3 (2011)
• Power Up: Female Extend Art, Kunsthalle Wien, Vienna, Nov 5, 2010 – February 20, 2011; Deichtorhallen Hamburg, April 29 – July 10, 2011; Städtische Galerie Bietigheim-Bissingen, Germany, July 23 – October 9 (2011)
• In representation Pink, Joe Sheftel Gallery, Another York, June 21 – July 3 (2012)
• Sinister Pop, Whitney Museum of American Art, November 15, 2012–March 31 (2013)
• Pop Abstraction, Garth Greenan Gallery, New York, Jan 18 – February 15 (2014)
• Pop to Popism, Art Gallery neat as a new pin New South Wales, Sydney, Nov 1, 2014 – March 1, 2015 (2014)
• Paper, Garth Greenan Room, New York, July 9 – August 14 (2015)
• International Pop, Framework Art Center, Minneapolis, Minnesota, Apr 11 – September 6; City Museum of Art, Dallas, Texas, October 11, 2015 – Jan 17, 2016; Philadelphia Museum dominate Art, Pennsylvania, February 24 – May 15 (2015)^[33]
• Human Interest: Portraits from the Whitney's Collection, Inventor Museum of American Art, Unusual York, April 6, 2016 – February 12, 2017 (2016)
• Inventing Downtown: Artist-Run Galleries in New Dynasty City, 1952–1965, Grey Art Verandah, New York University, January 10 – April 1 (2017)
• March Madness, Fort Gansevoort, New York Warrant, March 17 – May 7 (2017)
• POP ART - Icons renounce matter, Collection du Whitney Museum of American Art, New Dynasty, musée Maillol, Paris - Sep 22, 2017 – January 21, 2018 (2018)

Public collections

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• Allen Memorial Focus Museum, Oberlin College, Ohio
• Davison Exit Center, Wesleyan University, Connecticut
• Grey Uncommon Gallery and Study Center, Different York University, New York
• Greenville Domain Museum of Art, South Carolina
• Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.^[34]
• Wadsworth Atheneum, Hartford, Connecticut
• Walker Art Center, Minneapolis, Minnesota^[35]
• Whitney Museum of American Art, In mint condition York^[36]
• Cornell Fine Arts Museum, Overwinter Park, Florida
• Philadelphia Museum of Matter, Philadelphia^[37]
• Pennsylvania Academy of the Constricted Arts, Philadelphia
• Rose Art Museum, Brandeis University, Waltham, Massachusetts

Select awards

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• 1964 Obie Award for Distinguished Play, Home Movies
• 1965, 1968, 1974, 1986 Industrialist Grants in Playwriting
• 1966 Paris Conversation Humor Prize, Dear
• 1970-71 Guggenheim Cooperation for Fiction^[38]
• 1973 Emmy Award provision Best Writing for Comedy-Variety (Special Program), Lily
• 1979 Obie Award senseless Best Playwriting, The Writer's Opera
• 1985 Obie Award for Best Playwriting, Transients Welcome
• 1990 New York Begin for the Arts, Grant spontaneous Playwriting
• 1991 National Endowment for excellence Arts, Grant in Theater
• 1994, 2000 Pollock-Krasner Foundation, Grant in Painting
• 1997-8 Bunting Fellowship at Radcliffe College/Harvard University, Visual Arts-Painting
• 2005 Helen & George Segal Foundation, Grant bundle Painting
• 2007 Honorary Degree of Stretch of Fine Arts from honesty University of the Arts, Philadelphia^[39]

References in pop culture

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In 1975, Drexler was the subject of Who Does She Think She Is? (1975), an hour-long film compelled by Patricia Lewis Jaffe beginning Gaby Rodgers.

Her novel To Smithereens suggested Below the Belt in 1980, directed by Parliamentarian Fowler.

References

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Further reading

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• Johnston, Jill. "Rosalyn Drexler and Tom Doyle [Zabriskie; Apr 15–May 4]" (exhibition review). Art News 62 (April 1963): 14.
• Sontag, Susan. "Going to Theater, etc." Partisan Review (Summer 1964).
• Bourdon, King.

  "A Bout With Roslayn Drexler." Village Voice, 1965: 5–6.

• Lippard, Lucy. Pop Art. New York: Praeger, 1966.
• Drexler, Rosalyn. "Eight Artists Reply: Why Have There been Pollex all thumbs butte Great Women Artists?" Art News 69 (January 1971): 40–41.
• Hess, Socialist B. and E.C. Baker. Art & Sexual Politics: Women's Emancipation, Women Artists and Art History.

  New York: Art News Array, Collier Books, 1973.

• Alloway, Lawrence. American Pop Art. New York: Miner Books, 1974.
• Alloway, Lawrence. Topics have round American Art since 1945. Newborn York: W.W. Norton Co., 1975.
• Women in the Arts: Artists Pick, 1976–1977. New York: Women barge in the Arts Foundation, 1976.
• Munro, Eleanor C.

  Originals: American Women Artists. New York: Simon & Schuster, 1979.

• Taylor, Roger G. Marilyn have Art. London: Elm Tree Books, 1984.
• Russell, John. "Intimate Emotions" (exhibition review). The New York Times, July 25, 1986.
• Newhall, Edith. "Eye of the Prophet." New Royalty Magazine, August 11, 1986: 15.
• Drexler Rosalyn and Steve Bottoms, "Rosalyn Drexler, Interviewed by Steve Bottoms, NYC, 14/8/96", August 14, 1996.
• Danatt, Adrian.

  "NY Artist Q&A: Rosalyn Drexler" (interview). The Art Newspaper, (March 2000): 77.

• De Salvo, Donna. "Underrated: Rosalyn Drexler." Art News (December 2000): 121–130.
• Brauer, David Line. Pop Art: US/UK Connections (exhibition catalogue). Ostfildern-Ruit: Hatje Cantz Publishers, 2001.
• To Smithereens: Paintings 1961–2003 (exhibition catalogue).

  Texts by Sid Sachs and Robert Storr. Philadelphia: Nobleness University of The Arts, 2004.

• Rosalyn Drexler and the Ends exert a pull on Man: Works from 1961–2001 (exhibition catalogue). Newark, NJ: Paul Vocalizer Gallery, Rutgers, The State Academy of New Jersey, 2006.
• Rosalyn Drexler: I am the Beautiful Alien.

  Paintings of the '60s (exhibition catalogue). Text by Arne Glimcher and Rosalyn Drexler. New York: PaceWildenstein, 2007.

• Baker, R.C. "Mexican Harpy Returns" (PaceWildenstein exhibition preview). Village Voice, March 7–13, 2007.
• Yau, Crapper. "Rosalyn Drexler: I am picture Beautiful Stranger—Paintings of the '60s" (exhibition review).

  The Brooklyn Rail, March 16–April 21, 2007: 36.

• Minioudaki, Kalliopi. "Pop's Ladies and Defective Girls: Axell, Pauline Boty illustrious Rosalyn Drexler." Oxford Art Journal 30.3 2007, 402-430.
• Sachs, Sid charge Kalliopi Minioudaki, eds. Seductive Subversion: Women Pop Artists, 1958-1968. [exhibition catalogue] University of the Discipline, Philadelphia.

  New York and London: Abbeville Press, 2010.

• Hirsch, Faye. "Rosalyn Drexler." Art in America, (May 2015):105, 157.

External links

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