History of Collage & Photomontage: Zachary Larson

Rosalyn Drexler was a Pop Art connoisseur of the early sixties. She took content from journals and other print forms as the foundation for her art. Drexler utilizes bright pigments in her work to transform bland images into pieces of art with a whole different context. After cutting out images from magazines, she strategically placed them onto the canvas painting over them to leave a seamless new portrait.

Drexler was limited to her resources compared to the abilities we have today. Because there really wasn’t a digital world at the time, all of her work was done by hand. This meant she had to be precise on the way she cut and placed images because there was no undo button or I think I’ll change this later. She must have been creative in her methods. The project would have to be planned out from start to finish beginning with an outline of what she wanted her piece to represent. This would make an artist much more cautious about what they laid on their canvasThe creative choices Drexler made are imperative to the message she is relaying through her art. Her whole point is to take the bland, the corrupt and the ordinary and make it into something beautiful with a completely different context. By choosing to craft with cut outs from magazines and journals Drexler is implementing a piece of society into her art. Through this connection she can take what society has to say about a topic and turn it on its head. Drexler’s specific use of tools and materials leaves me to interpret her work as passionate, eye-opening pieces of history. She was an artist who illustrated the world in a unique light and left the people thinking about the social issues they were caught up in.


Rosalyn Drexler, ‘The Dream’ (1963)


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