Hera, Sculpture: Connectors, Outdoor Installations, World Traversing Installation Art Press

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Orbital Connector

Artworks Go Over Big by Joan Shephard [clipping]
Daily News, Friday, June 7, 1987
"It is a complex work that celebrates all of the national and ethnic groups in the housing complex. The sculpture consists of a series of rings that have the names of cities in China, the Caribbean, Europe and the United States identifying the origin of the people in the area."


New York City Housing Authority [clipping]
Architecture and Urbanism, October 1989
"John Wang of the Chinatown Planning Council described ORBITAL CONNECTOR as 'symbolic of our hopes for the democratic movement in China'. Hearing their comments and seeing the delight of the residents on the dedication day made the years of tenants' meetings, community board and government approvals and innumerable fund-raising activities worth the effort."


Spirit House

Her Work Reflects "Spirits" of Cadman House by Merle English [clipping]
Newsday, Monday, October 14, 1985
"Visitors entering the Spirit House will feel a specific vibration, its airy design was intended as an environment where one can unwind."


Singing Rock Sitting Place

Artfully Altering the Arboretum by Edward J. Sozanski [clipping]
The Philadelphia Inquirer, Sunday, August 7, 1988
"As previous exhibitions in this series have shown, it isn't easy to achieve the proper equilibrium between sculpture and landscape. It isn't simply a matter of scale, color or materials, it's more a matter of attitude, of being sensitive to the nuances of the site and choosing an appropriate way to enhance that site without effacing its essential character. A New York artist who calls herself Hera has accomplished this in a secluded and unlikely setting by using a storm-water drainpipe set into a steep hillside in the southeast corner of the arboretum."


Meditative Spaces

Public Spaces for Private Thought by Joanna Wissinger [clipping]

Progressive Architecture
"These works combine a number of qualities: meditative space, nostalgic allusions to formal 19th-Century garden arbors, the pure pleasure of being outdoors, and the serenity of formal geometry. They are not just to gaze at, but to walk through, stand in, climb on, smell, touch, and - if only metaphorically - to inhabit."


Niagara-Knossos-Carranza Connector

Excerpt from the ArtPark '82 catalog [clipping]
Architecture and Urbanism, October, 1983
"The physical participation of the viewers by their entry and ascent into the Connector was designed to create a vital and lasting response to the concept of global connectedness which the film presented."


Vaulted Arbor

Sculpture at Park to Live—Di-vinely by Jared McAllister [clipping]
New York Daily News, Wednesday, September 26, 1984
"An unusual "living" sculpture, call Vaulted Arbor, was unveiled yesterday..."


A Bountiful Season In Outdoor Sculpture Reveals Glimmers Of a New Sensibility by Michael Brenson [clipping]
New York Times
, Friday, July 18, 1986
Hera (Glenwood Houses, 1704 Ralph Avenue, between Glenwood and Farragut Roads, Brooklyn) Hera’s “Vaulted Arbor” consists of galvanized steel [pipe] forming an arch 22 1/2 feet high and 43 feet wide. The steel brings to mind the ribs of a Romanesque and a Gothic vault. Since there is nothing between the ribs, however, this architectural sculpture has the feeling of a religious edifice waiting to be built. Hera clearly wanted this work to protect and inspire.

“Vaulted Arbor” was produced by the Brooklyn Botanic Garden with a grant from the Department of Cultural Affairs Community Arts Development Program. The Botanic Garden provided different kinds of plants, which have been attached to the steel so that they climb like ivy. If they ever cover the steel completely the work will resemble a natural temple.