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


 

ARTLETTER, A Publication of the Art Department of California State University at Chico, 1991
“The Monoliths Have Landed”

Nineteen concrete monoliths – each weighing between four and eight thousand pounds – finally have found a home near the west entrance to Ayres Hall after three other locations fell through. Distinguished Visiting Professor Deborah Masters conceived of the project as a way of teaching Graduate Sculpture Students “all that I know about making public sculpture in one semester.” Below, Masters and four participating students discuss the project with Dolores Mitchell.

Mitchell: Deborah, what did you hope your students would learn by means of the monolith project?

Masters: Within the first week, I realized few of the students knew each other, and they came from so many backgrounds – architecture, construction, painting. I wanted a project that could pull the class together and came up with the monolith idea. I decided that if students leaned how to make steel armatures with clay bodies and plaster molds that they would cast into concrete, plus acquired some political and organizational skills of the sort I’d had to develop in New York while doing public commissions, in one semester they’d have all I could teach them.

Mitchell: What sort of support did you get from other people in the University?

Masters: The Plant Operations people were really wonderful in helping us with all the permits we needed. Brooks Thorlaksson always came to our aid, and Dean Heinz’s belief in the project really helped us.

Roberts: Robin Wilson was out there watching us often, and given moral support. Mitchell: Susan, your piece is figurative, while the other monoliths are quite abstract. Why?

Bardin: Mine is a cenotaph, showing a woman giving a little boy up to the heavens. It’s a memorial for a cousin of mine who drove to Florida in his van and was never seen again. Inside the monolith are some of my cousin’s clothes, a dirty shirt and bandana, an old love letter from his wife. My sculpture will help him to live in the hearts of his family, even if his body is never found.

Mitchell: Over the months, your site changed several times. How did you and students deal with that?

Masters: We’d all have to get together, build a new model overnight and become committed to the new idea, after having said: “Oh, we can’t possibly do it again.”

John Hubenthal: Then, no sooner did we have the site squared away on campus by the creek, when mysterious anonymous petitions appeared that were against erecting the pieces. We set up information tables and tried to build support for the sculptures.

Masters: I’m glad it happened. The result was very educational, the kinds of things sculptors always encounter in the real world.

Ross Roberts: I agree. The unity of the group was enriched through overcoming so many obstacles.

Jeff Ferrando: We had to learn to deal with other opinions. While I was at our information table, I spoke a long time to one lady before I realized that when she thought of “concrete” she saw vertical sidewalks in her mind.

Hubenthal: The whole process was great. We learned to depend on each other, working twelve hour days, all semester, laughing, plastering, molding.

Ross Roberts: We worked miracles. We removed a 48 foot by 45 foot solid concrete slab that was 8 inches deep. The loading of the concrete into a dump truck was a gigantic job, but when one person gave up, another too the lead.

Susan Bardin: It was hectic, lots of hard physical work that was tough on my body. My father was a house builder. I’d watched him a lot and had always wanted to participate in something similar. I liked the entire process of working in concrete from welding rebar to covering the armature with Styrofoam to molding the plaster. We had to get used to being filthy…had to build up our physical strength.

Masters: If you want something badly enough, there are no limits to what you can do.

Roberts: Deborah was like a psychotic Mother Teresa, fronting with her own money when funding was delayed.

Masters: Students put themselves on the line too, and made things happen.