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


First Class
Skidmore, Owings & Merrill designs a new international terminal at JFK.

Edie Cohen
Interior Design -- 9/1/2001

Once all roads led to Rome. Now they're a one-way street to New York. The city's undisputed status as the world's financial capital has expanded to embrace the arts and architecture, and its Mecca qualities have created ceaseless frissons of activity for the growing numbers of inhabitants and visitors intent on sampling the epicenter's vast range of experiences. Need evidence to substantiate growth? Just try to find a rentable apartment, grab a taxi, obtain tickets to a hot show, or even get into a Friday night movie at eight. Need proof of prosperity despite recent leaks in the economic bubble? Look at the airports. The number of travelers coming through the city, whether for business or pleasure, appears to be increasing exponentially. Which brings us to Terminal 4, the new international arrivals building at John F. Kennedy International Airport (JFK). Designed by Skidmore, Owings & Merrill, the 1.5 million-sq.-ft. complex replaces its predecessor, built in 1958 and also designed by SOM. The client for this $1.4 billion facility, JFK's largest, was a private consortium consisting of LCOR Inc., a national real estate concern; Schipol USA, a subsidiary of Amsterdam's airport management; and Lehman Brothers, in collaboration with the Port Authority of New York and New Jersey. T4 is part of JFK's overall $10.3 billion reconstruction scheme that will eventually see every terminal either replaced or significantly revamped.
When the old International Arrivals Building was designed and erected, air travel was for the leisure class, and the progression of spaces involved in the check-in process had a quasi-domestic scale, SOM partner (and, as of October 1, chairman) Marilyn Jordan Taylor states by way of prologue. More travelers, more flights, heightened security requirements, seemingly endless pre-flight airport hours, and a general aura of high anxiety bring a whole new subset to today's design equation. "We wanted to address design from the passenger's point of view," the architect continues. "Comfort and clarity are central to the drama and experience of air travel."
The three-level "head house," encompassing roughly 60 percent of a complex that extends to two concourses, is a steel-and-glass-span structure predicated on translucency. Pulling up to the building, departing travelers are struck by its swooping roof and a 500-ft.-long grid of glass that allows views straight through the building's top level to runways and planes beyond. This "self-orienting" quality should eliminate stress, Taylor believes. The concourses, flanking the structure along east and west sides, have ten gates, with another six to be completed.
Organization is as follows. Curbside entry at the uppermost level leads to a 200,000-sq.-ft. departure/ticketing hall overlooking a retail area below equivalent to four city blocks. This 100,000-sq.-ft. shopping expanse, located before security, represents a significant change in approach for airports in America, according to Taylor. She explains that the thinking derives from the Schipol connection, "where amenities contribute to the experience. The idea of keeping you in the food and retail area instead of sending you off to the plane and having you wait there was critical." The vast hall, developed with retail consultant Communication Arts of Boulder, Colorado, offers such upscale draws as I Santi and H. Stern, as well as fast-food and other dining venues under the aegis of Restaurant Associates.
On the ground level, the terminal's 250,000-sq.-ft. arrivals component has its own distinct feature to help humanize the often disconcerting sequence from arrival gate through a "sterile corridor" to immigration and customs. Each leg of this tri-part journey is enlivened by a site-specific, commissioned artwork. For the corridor, Diller + Scofidio created Travelogue, a series of lenticular panels combining the contents of a suitcase with travel vignettes. Next is Harry Rosen's gypsum "curtain wall," inspired by the forms of undulating draperies. For the immigration hall, Deborah Masters created 28 relief panels of a similar material to depict typical scenes of New York life. The new pieces complement two of the airport's major works, which have been relocated to T4. They are Alexander Calder's Flight mobile and a ceramic mural created by Arshile Gorky for the original Newark Airport terminal of the 1930s.
Within T4, transparency and light continue as a pervasive theme through linear skylights and a ceiling solution addressing the needs for both daylight and artificial illumination. The treatment, which resembles a tautly stretched tent, is based on metal infill panels within a curvilinear framework that recalls the structure's roof. Recessed uplights are utilized in the departure hall. Steel columns, in a wishbone configuration, comprise the support system. They also create a sense of rhythm within the great hall.
In terms of efficiency, the terminal has adopted the "common-use" concept: its 38 airlines in service share counters and systems as needed. This factor, along with across-the-board increases in gates, check-in positions, and baggage carousels, should enable T4 to handle up to 3,200 passengers per hour as opposed to 2,000 per hour in the previous facility, according to Port Authority chairman Lewis M. Eisenberg.
SOM began the project eight years ago with a feasibility study. Actual construction, effected in phases to accommodate uninterrupted operations, took just over four years. T4's next phase, which will effectively double the complex's size, entails national and international facilities for Delta. Completion is slated for 2004.
Credit is shared by: partners David Childs, Carl Galioto, and Anthony Vacchione, in addition to Taylor; project managers Paul Auguste and Robert Chicas; and senior design architect Peter Ruggiero. TAMS Consultants was responsible for engineering/civil design, Ove Arup & Partners for engineering/MEP/structural work.