PUBLICATIONS, PRESS, AND INTERVIEWS
1995 In Three Dimensions: Women Sculptors of the 90’s, Snug Harbor Cultural
1994 The Guild 9
4/16/90 Artspeak, Martin Parsons, Westbeth Gallery , New York, NY
Am. Society of ContemporaryArtists, ........draw their exuberance directly
from nature, while the human body is the source that Barbara Arum
abstracts from in her sensual zebra wood sculpture of a simplified female
torso, with the wood's distinctive grain running down it like streaks of rain.
12/29/87 “What’s Going On”, Betty Osmun (30 minutes) Channel 16, New York, NY
9/27/87 New York Times: William Zimmer, 'Lively Crossovers' Hastings-on-Hudson
Gallery , Hastings, NY
Barbara Arum makes columnar geometric work that has a seriousness
reminiscent of the Constructivists and John Storrs in particular. This
work is satisfying because we are familiar with its lineage; we know
where it's coming from.
10/83 Art World, Joseph Anthony McDonnell, Pindar Gallery, New York, NY
Barbara Arum is the only sculptor among the five invited artists of the
PINDAR INVITATIONAL 1983. Her pristine welded steel sculptures
possess a high degree of graphic quality with their strong vertical shapes
and floating, often penetrated, circles. Although these are sexual in
denotation,, they certainly are not in visual connotation. Instead one feels a sense of spiritual courage in these elegant soaring works. While the
footholds for these creations can certainly be traced to the Personages
and Sentrys of David Smith and the design elements to Art Deco,
the works themselves strongly state that here is an artist well along
in developing her own personal viable language.
5/15/83 New York Times: Helen A. Harrison, 'Show Encompasses the Possibilities..... '
Because sculpture is primarily an art of volume and voids, in which form, whether
shallow or fully three-dimensional, occupies real space and interacts with it, it can
claim a presence implicitly denied to canvas and paper. The best works on view
assert that presence, either gently or forcefully, with skill and imagination.
Barbara Arum works in the well-established vocabulary of David Smith's later
welded and brushed-metal constructions, but in spite of her obvious dependence
on precedents, her pieces are well balanced and harmonious. Both "Universality"
and "Beginnings" with their contrasting flat planes and curves, work well within the
context of an established esthetic, even if they break no new ground.
11/12/82 Reporters Dispatch
8/16/81 New York Times
4/29/81 Kathy Westlake (15 minutes) WVOX, New Rochelle, NY
9/16/79 New York Times