Kiosk.Edu is a glass house that reflects quotes from artists, architects, and performers mined from contemporary and art historical excavations. This interior lit 6ft/ 4in. by 8ft. 4in. by 7ft. 2in. tall glass was designed to inform the public about the personal, conceptual and/or emotional journey’s these artists traveled in process to achieve their respective creative destinations. Art Writer Pat Rogers says in her article "New Sculpture Speaks Volumes" says "At nighttime, the words seem to float on air. During the day, the black and red type becomes part of a house of quotes supported by glass and steel. The network of one-liners captures thoughts uttered by artists, actors, architects, writers and other creative types. Welcome to “Kiosk.Edu”— a glass and steel house of quotes will be unveiled at Guild Hall in the museum’s newly redesigned outdoor sculpture garden. “Kiosk.Edu” was recently exhibited at the Chicago Art Fair and in the lobby of the AIA (American Institute of Architecture). The work will remain on view at Guild Hall Art Museum's garden. Guild Hall Curator Christina Mossaides Strassfield selected “Kiosk.Edu” because it is artwork that talks about the process of art. Quotes include thoughts expressed by Jackson Pollock, Frank Lloyd Wright, Georgia O’Keeffe, Louise Nevelson, Claude Monet, Martin Mull and many others. “The glass house was designed to inform the public about the personal, conceptual and/or emotional journeys these artists traveled in the process to achieve their respective creative destinations,” according to a description provided by the museum. In an interview, Ms. Strassfield added, “I’ve been a fan of Ms. Yankowitz’s work for a long time. When I saw this, it seemed perfect. It’s a universal piece and most artists can appreciate it.” The process of creating “Kiosk.Edu” and exploring the idea of connectedness and relationships throughout the ages led to another connected concept. Her next project will cull quotes from authoritative religious texts on ways women are perceived and treated in Christianity, Judaism and Islam. How differences and similarities translate into practice is an important area of exploration. The sculpture will use a similar house structure as “Kiosk.Edu.” My earliest site projects were created for Central Park and Lincoln Center in 1969. I received grants from School Of Visual Arts, The NYC Parks Department, and was also commissioned by the Pearl Lange Dance Company (Ford Foundation Grant) to create nine pieces for the stage at Lincoln Center that same year. The Draped facade pieces were designed in 1968. Recent works use environmental issues as reasons to create cantilevered grass and soil sculptures. Through the years I used technology to create artworks that resist the laws of science, toying with people’s assumptions about gravity, solidity, and the mutability of static elements challenging our inherent conviction that the ground beneath our feet is stable. More recent projects include a glass house structure containing a cloud continually in motion and changing because of humidity and barometric pressure conditions in the atmosphere surrounding the CloudHouse. The cloud is made with ultrasound and envisioned in the public realm, as if a monumental soothsayer forecasting imminent, sometimes ominous weather conditions. Filtering Vortex is a proposal designed as a fantasy LCD projection made to encourage the fabrication of a giant underwater filtration system that purifies our water and environment. Projected on a large floor site, a colossal sized fan with attached membrane is imagined continually spinning and cleaning particles as if recycling through a below sea level drain. Trapped debris renewed through natural processes restores nutrient value to this fictional underwater bed.