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
Art in America
Women at War 1993
By Ruth Bass


This strong, provocative show brought together works by 18 women artists who have dealt with war in different ways. The title seemed to have a dual meaning. Some of the artists, particularly photographers Lee Miller, Margaret Bourke-White, and Susan Meiselas, were on the scene in war-torn areas recording specific incidents and allowing the viewer to provide the commentary. The majority of artists, however, have used their art as protest pieces in a personal war against war.
Sue Coe’s powerful photoetching of an Iraqi mother trying to shield a child with her body, a direct response to the Gulf War, is pointedly titled Bomb Shelter. Mimi Smith’s dress made of camouflage material trimmed with lace hangs below a sign that looks like needlepoint but reads: “Kill Level 1.” The title of the piece, To Die For, echoed women’s chatter about the clothes and ironically questions the justification for war: for motherhood and apple pie; the protection of innocent women and children; or perhaps for prosperity so that the survivors can buy more dresses.
Some artists derided war as a macho expression of masculinity. In I’m Dreaming of a White Christmas, Anita Steckel embellished a photograph of Adolf Hitler and several German soldiers standing near a banquet table with large, white penises ejaculating in arcs that resemble rocket trajectories. By contrast, Deborah Masters presented two monumental sculptures of helmeted heads with strangely androgynous faces. Here, women are at war in yet another way- present as the repressed feminine side of the male soldiers and, perhaps, as representatives of the larger society that ultimately makes the decision to send men to war.