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

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

Art in America - ART WORLD - April, 2002


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

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, 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”


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

‘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


Art in America
Review of Exhibitions:
New York

Deborah Masters at
Maurice Arlos and Smack Mellon

By Lilly Wei

Deborah Masters, the Brooklyn-based artist whose monumental 28-panel installation “Walking New York” was commissioned for the new terminal at Kennedy Airport, recently had two simultaneous exhibitions, in Tribeca and Dumbo. The former, at the fledgling Maurice Arlos Gallery, was succinct and arresting. Five bulky, hieratic, larger-than-life figures made in Masters’s signature cubistic style, like Old Kingdom pharaonic statues, sat cross-legged on what resembled wooden skids, their hands in their laps, deep in meditation. All faced forward except one, whose smooth, bald head brought to mind Donatello’s Lo Zuccone (The Pumpkin Head). Made of cast nontoxic polyurethane, terracotta in color, these figures were stylized portraits of friends, their features simplified, expressions solemn. The gravitas with which they held themselves was both unnerving and soothing, their stubborn, timeless presence somewhat at odds with sneakers, T-shirts, sweaters and dreadlocks they wore. Nonetheless, the effect was powerful. Compressed into the space of the gallery, they formed what seemed to be a cadre of Buddhists-in-training, images of thoughtful endurance. In Smack Mellon’s cavernous space, by contrast, Masters went wild. The main sculptures, situated around the gallery were watched over by several enormous heads suspended from the 40-foot ceiling. Trailing white rebolike fabric, they recalled the handiwork of Peter Schumann of the Bread and the Puppet Theater. However, these were only part of Masters’s overwhelming installation. (Sharing the space was a separate installation, equally shamanistic, by Karen Dolmanisth.) Consisting of 14 tables that Masters designated as altars, the work was essentially a hyper-dense accumulation of memorabilia- a kind of Ur-flea market, with photos of friends and family, other works by the artist, exhibition announcements, plus rosaries, images of Christ, Madonnas and saints of every description, relics, dried flowers, small containers of slaves, candles, letters and much, much more, including books made by Masters to explicate the theme of the table. Accompanying these altars, which functioned a bit like the Stations of the Cross, were chandeliers, lamps, chairs and reproductions of works by artists important to Masters, such as Frida Kahlo, Giotto, and Piero della Francesca. One altar was dedicated to Masters’s childhood in Pennsylvania and Mexico; others to African rituals by way of the Caribbean, Mexico and the Southwest; another to the World Trade Center, with a book of images of the towers. Indeed, the entire ensemble was eschatological in import, a visual salute to the big themes of existence - life, death, memory and resurrection. This was horror vacui on a grand scale.