Sculpture Magazine - July/August 2003 vol.22 No.6

Reviews: New York - Deborah Masters at Maurice Arlos Fine Art
By Jonathon Goodman


Art in Armerica - February 2003

Deborah Masters at Maurice Arlos and Smack Mellon By Lilly Wei


New York Times - September 27, 2002


'Sacred Matter’
- Karen Dolmanisth and Deborah Masters By Holland Cotter - Smack Mellon Studios


Vie Des Arts - 2001


DEBORAH MASTERS - An American in New York By Paquerette Villeneuve


The Brooklyn Papers “GO”: January 13, 2003


Thinking Big - Sculptor Deborah Masters Talks about her ‘Angel’ in the Brooklyn Public Library
By Lisa J. Curtis


Art in America - March 1992


Deborah Masters at LedisFlam By Nancy Princenthal


Village Voice - January 23, 1990


“Women in Command”

By Arlene Raven


Art in America -June 2001


Public Art in New JFK Terminal By Cathy Lebowitz


Reviews:
The New York Times - The Arts -Thursday, May 24, 2001

Being Met At the Airport By New Art - Big, Bold Installations For a Rebuilt Kennedy Arrivals Terminal
By CELESTINE BOHLEN


Art in America - ART WORLD - April, 2002

Awards...


Greenline- Revelations- Artist and Activist


Brigette by Barbara Schaeffer


Philadelphia Inquirer- In Sculptor's Figures, A Mysterious Gravity


NY Times- Dith Pran- Front Page Sunday Times


The New York Times - Friday, October 4, 2002


ART GUIDE - Last Chance


Newsday -City - Thursday April 26, 2001


Missing Cloth’s No Cover-Up

By Pete Bowles


CRAIN’S New York Business - Jan. 28-Feb. 4, 2001


The Fine Art of Traveling


Daily News - Wednesday, April 25, 2001


“Artist Adds Loincloth to Jesus in JFK Mural”

By Warren Woodberry Jr.


The New York Times -The Metro Section - Wednesday, April 25, 2001


Blushing, Then Brushing, Artist Covers Nude Christ
By SUSAN SAULNY


DIE ZEIT - 4/6/2002 


Hipster auf Asbest
Nur eins stört den industriellen Charme im Szeneviertel Williamsburg: die Industrie
Thomas Fischermann


New York Times - Making ‘Dwell Time’ Fly Just a Little Faster


New $1.4 Billion Terminal at J.F.K. Aims to Ease Waits for Passengers
By Ronald Smothers


The North Brooklyn Community News-GREENLINE- January 6- Feb 27, 2003


Crossing Brooklyn: Angel in Crown Heights
Deborah Masters


Punkasspunk.com, phancy.com April 24, 2001
Jesus' groin painted over after complaints


Above the Immigration Hall, Walking New York

Describing the theme of her narrative relief panels mounted on a 300-foot wide space above the immigration booths, sculptor Deborah Masters emphasizes the familiar, as well as the diverse in New York


Hemispheres - August 2001


Terminal Bliss
/ New York's JFK
By David Butwin


Interior Design - 9/1/2001


First Class - Skidmore, Owings & Merrill designs a new international terminal at JFK. By Edie Cohen


Los Angeles Times - Sunday, May 20, 2001


“New York’s JFK Airport Opens a New Terminal”


Brooklyn Bridge - September 1996


“Casts of Thousands”

By Bonnie Schwartz


New York Times - LedisFlam
April 1, 1988


Blue Angel:
The Decline of Sexual Stereotypes in Post-Feminist Sculpture By Michael Brenson


New York Times - LedisFlam -
March 3, 1989


Beyond Slickness: Sculptors Get Back to Basics”
By Michael Brenson


Village Voice - March 9th, 1993


LedisFlam - ‘Covert Action’
By Elizabeth Hess


Chico Enterprise Record - August 17, 1990


“Garden of Statues Grows at Chico State”


ARTLETTER- 1991


A Publication of the Art Department of California State University at Chico
“The Monoliths Have Landed”


The Daily News-Wednesday April 25, 2001


Mural Modesty - After complaint, artist adds loincloth to nude figure of Jesus - By Paul Mose


Newsday Copy- Profile- Sheila McKenna


ARTLETTER 1989-1990 Edition


“Visiting Artists & Scholars”
- Deborah Masters
California State University, Chico


Style: The Washington Post -Wednesday, September 4, 2002

Forsaken Warehouse District Is New York’s Latest Art Home
By Blake Gopnik


Gracie Mansion Gallery - Arts Magazine


“New York in Review”

By Robert Mahoney


Art in America - LedisFlam


Women at War 1993
By Ruth Bass


The New Zealand Hereld, World News - Thursday, April 26, 2001


X-rated Jesus given face-saving Y-fronts


JFK Catalogue Copy


The Brooklyn Phoenix - October 1988


LedisFlam
‘Trails of Showing Sculpture in Park’


Chico Enterprise Record - Friday, August 17, 1990


“Three Sisters and a Rose Garden”


The Orion - January 30, 1991


Sister, Sister: Masters’ Final Sculpture Project Looks Inward”
By Courtney Rastatter


The Orion - 1991


“Sculpture’s New Location Solves Controversy”

By Lauren Dodge


PennState Harrisburg Currents -
Fall 1990


“Sculpture Garden Receives an Angel”


Eureka Standard- Jesse


New Yorker, Nancy Ramsey, Loft Tenants


Brooklyn Magazine
Brooklyn Artists, The Newest Left Bank
Amy Virshup, 1986


 

The North Brooklyn Community News - GREENLINE
“Crossing Brooklyn”
Deborah Masters Creates “Angel in Crown Heights”


NY- Opening January 6, 2003, a new series of works entitled “Crossing Brooklyn” will be exhibited at Brooklyn Pubic Library’s Central Library on Grand Army Plaza. The series, free and open to the public, will present new works by Brooklyn artists whose innovative sculptures reflect enduring aspects of life in the borough. This exhibition is organized for Brooklyn Public Library by Smack Mellon and curetted by Marian Griffiths. The series will continue with works by Tom Kotik March 6 – April 25 and by John Beech Mary 2 – June 27.
Deborah Masters, known for such works as her 28-panel “walking New York” reliefs at JFK International Airport, “Sacred Matter” at Smack Mellon Studios, “Circle” in the Whitney Museum of American Arts’s “Urban Figures” show, and “Pong Virgins” created for Brooklyn’s Prospect Park, will open the series with a new installation entitled “Angel in Crown Heights.” The installation will be on view in the Lobby Gallery January 6 – February 27, 2003, with an artist’s talk Saturday, January 11 at 2 pm. In tandem with “Angel in Crown Heights,” will be an exhibition of the preliminary drawings of Masters’ work for JFK International Airport on view in the Central Library Balcony Cases on the second floor. It’s been great creating a work about Brooklyn to exhibit at a public venue like Brooklyn Public Library,” says Deborah Masters. “It gives me the opportunity to bring my work to people who will relate to the installation as a familiar community experience. It’s sharing my work with an extended family,”
“Angel in Crown Heights: is a site-specific work of a larger than-life sculpture of Angel and three large black and white drawings overlaying the three walls of the rectangular Lobby Gallery space. The figure is based on Master’s assistant Angel Mohammed. The sculpture of Angel, seated on a box and drawing on his knee, is cast in Ultra cal and painted in earth tones with a dull finish. Angel sits within the context of the three drawings, of the crown Heights neighborhood where he grew up. One drawing, situated on the central wall of the gallery, depicts stairs leading up to the front door of his brownstone, with adjacent drawings featuring the buildings on either side.
The combination of the two mediums of sculpture and drawing create a provocative juxtaposition of weight and textures in Master’s work. Her figures are massively stated, yet her themes frequently have to do with our transit through this world, our environment, and our place in it. Her work seems to suggest figures of ‘everyman’, endowed with the intrinsic weight of life, journeying through with the epic struggles that face us all. There is nothing small or provincial about the way Masters sees or renders humanity in her sculptures. Like the monumental figures of Aristide Maillol or of classical Greek sculpture, the weight of human experience is substance made live in Masters’ work. The cultures, textures, and imperfection of humanity as rendered in the human figure are both representative and specific in her work. The personal is the historic, and vice versa.
Brooklyn Pubic Library offers a range of exhibitions and cultural programs year-round at the Central Library and branches to highlight the arts and humanities in Brooklyn. BPL provides public venues to showcase the work of established and emerging artists, frequently bringing the work of Brooklyn-based artists and smaller non-profit arts organizations to a wider audience.