"Drexler first began exhibiting her work during the late 1950s and was a fixture of the Pop Art scene by the early 1960s, the gallery says. Her works at the time incorporate images from magazines, newspapers, and movie posters. Her 1963 collage The Dream features King Kong, while Study for No Pictures (1963) draws on an image by the crime scene photographer Weegee."
""Although Drexler is mentioned in the early histories of Pop, she received little serious attention at the time," wrote the critic Bradford Collins in a Garth Greenan catalogue. He adds: "As [the critic] Robert Storr so nicely put it in a recent reappraisal of her work for a Rosenwald Wolf Gallery catalogue: 'It is the fate of some artists to arrive at the station on time, and still find themselves being left on the platform as the train pulls away without them'.""
""I grew up in the Bronx, not far from Van Cortlandt Park, which is so big it felt like its own country then," she wrote in Frieze (2017). "I didn't go into Manhattan often until I attended the High School of Music and Arts, years later, though I remember visiting the Metropolitan Museum of Art with my father and seeing a Jean-Simon Chardin painting of a peach, which impressed me because it looked so juicy, so perfect.""
Rosalyn Drexler began exhibiting work in the late 1950s and became a visible figure in the Pop Art scene by the early 1960s. Her pieces incorporated images from magazines, newspapers and movie posters, including the 1963 collage The Dream featuring King Kong and Study for No Pictures drawing on a Weegee photograph. Early critical attention was limited despite later reappraisals. Born in the Bronx in 1926, she attended LaGuardia High School and briefly Hunter College before marrying Sherman Drexler. After a period in California she returned to New York, joined an all-women wrestling troupe as Mexican Spitfire, and cited childhood museum visits as formative.
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