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


“Sculpture’s New Location Solves Controversy”
The Orion, 1991
By Lauren Dodge

The controversy over where to put giant monoliths is over. They are now “permanently” stationed in front of Ayers Hall and, according to Deborah Masters, the instructor whose advanced sculpting class created the monoliths, they should remain there for at least 10 years.
It all began when Masters assigned the project to her advanced and graduate sculpture students. The monoliths were originally supposed to be placed at the university farm, but the location was rejected because of the permanent nature of the sculptures.
The next location decided upon really sparked the controversy.
Masters and several university planning committees found a location behind the Continuing Education building which they agreed would compliment the 20 concrete sculptures. The staff at Continuing Education didn’t agree.
Some of the employees protested the proposed location of the project because they feared the monoliths would resemble “high-rise sidewalks.” They were worried the sculptures would take away green space from the campus.
Several Continuing Education employees started circulating a petition, and with enough signatures from students and faculty of the university, were able to keep the sculptures from their proposed location.
Masters was then forced to search for a new site. With the help of university planning operations and President Robin Wilson, she got permission to use the land in front of Ayers Hall.
“The president said if we could find another place to put them it would be great, because it was causing endless problems,” Masters said. “We decided on this location in front of the art building which, as far as I’m concerned is perfect.”
The staff at Continuing Education agreed.
“Everyone here is pleased with location of the sculptures,” one employee said. “It’s a fitting place because it’s in front of the art building.”
The sculptors are also satisfied with the site of the project. Art major Kim Couchot, who created one of the monoliths, likes the “concrete jungle” effect the sculptures have since they are so close together.
“I’m disappointed in the whole controversy that erupted,” she said, “but I’m not disappointed in the location.”
The artists call the monolith project “Green Space.” Since the site of the sculptures used to be a concrete pad, the grass and flowers which will be planted this month will add to the green of the campus.
“Green Space” will be formally presented to the community next month. Masters hopes this will give people on and off campus a chance to appreciate the monoliths and the work which went into them.
Even without the presentation, many people outside of campus are well aware of the project.
“People migrate over from outside the university after concerts in Laxson Auditorium,” Masters said. “Everyone’s delighted with them.”
Couchot has also noticed many students and faculty “hanging out” around the sculptures and is glad people are able to enjoy them.
Despite everything Masters went through to get the monoliths settled, she said she still considers the project “very successful.”