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

 

LedisFlam
‘Trails of Showing Sculpture in Park’
The Brooklyn Phoenix, October 1988


On the Lullwater’s northern bank stand two bare pedestals and the third lone survivor of Deborah Masters’ “Three Pond Virgins,” an ambitious series of classical figures inspired by Hadrian’s Villa near Rome. Masters says she wanted to relate the classical figures to the landscape, including the Italian-style Boathouse, and to make time go away a bit.” “It was a wonderful piece to make, and the most successful installation I’ve ever done; people really loved them,” she says.


ALMOST FELL INTO POND
Masters set up the plaster molds on the site, and poured the bases on the spot. The figures were poured nearby, and the Brooklyn Forestry Division of the Parks Department helped out with the precision lifting for the installation when the exhibit opened in June.
“I almost fell into the pond, removing the molds,” she laughs, recalling the set-up process. The piece was eventually vandalized, two of the virgins knocked off their pedestals and tossed into the pond. Now, only one remains. “It was pretty well-integrated,” she says of the tri-part piece, concluding, “but it was a dangerous piece to make here” because of the vulnerability of the figures.
“Step One” has been plagued by vandalism right from the start, with problems ranging from graffiti to outright destruction and theft. “I designed these so they couldn’t be pushed over,” says Masters, tapping gently on the one remaining Virgin; the statue itself rests on a sturdy, ornamented column atop a poured concrete base. “But they must have had a sledge-hammer,” she adds ruefully. The sculpture cost a few thousand dollars just to make, she says, but it is the emotional loss that is most damaging.