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
Deborah Masters at LedisFlam
By Nancy Princenthal
March 1992

Even from the furthest point of the hall leading to this gallery, the nine massive figures in Deborah Masters’ World View had an uncanny impact. Square-shouldered, flat-footed and deadly serious, they advanced toward the doorway with the slow implacable progress of mortality itself. As in some unspecified ritual procession, they were ranged in two rows-five woman on the left, four men on the right. A coarse median carpet of lava stone tapered toward the rear, exaggerating the formation’s depth. Each figure was about a head taller than life-size, cast from roughly modeled clay in hydrocal (a form of plaster) and rubbed with earthy pigments. All were portraits of the artist’s friends and colleagues but were meant to register as types, variously bold, knowing, serene, strong. Arms held stiffly to sides, one barely flexed leg just slightly in front of the other, they formed a silent chorus less reminiscent of the early Greeks than of Cecil B. de Mile.
There was, in other words, the shameless sweep of epic in World View-of an important story told in bold strokes. Masters has been working in this vein, based on early or pre-classical figurative models interpreted in large scale, for several years. Often, as here, the figures make up fixed groups. The legacy of ancient and mythological figuration, and of the kind of primitivizing shown in Masters’ technique, has not often recently found expression in monumental terms-in out Freudianized century, ancient urges are equated with the most deeply intimate and darkly shrouded experience. Archaic myth has a comfortable place in, say, Abstract Expressionism; in sculpture, “primitivizing” now most often results in one or another form of provisional-looking, deprecating mordant funk. In World View, Masters returns these conventions to the service of public speech, to a diction that is used to express civic rather than inner truths.

These sturdy, striving figures urge us to such virtuous accomplishments as may be torn from the teeth of diffidence, ironic historicism and other lately fashionable forms of protective coloration. But this tone does not prevail throughout. In a smaller room (the relationship of architectural to sculptural dimensions was precisely calculated in this exhibition), the undertone of Masters’ voice could be heard. Thank You for My Adolescence consists of a big female figure resting awkwardly in a coarse wooden tub a few sizes too small; she is a grown stuck in what might be and adolescent’s open coffin, itself wedged slantwise into the gallery. Again, the figure’s proportions and profile, even the stylized rim of bangs on her forehead, suggest a classical prototype. Dusted with coppery powder, she is decidedly heroic. In consequence, her ungainliness and the indignity of her position-her exposure-are dramatized. Using a metaphor no more recondite than that of a square peg in a round hole, Thank You tells us a great deal about individual vulnerability to institutionalized power and about the inadequacy of public language to domestic reality.