Exhibition view of “Jene Highstein: Early Works,” with (background) Black Mound for Suzi, 1976/2013. Concrete, chicken wire, black pigment, and wood, 12 x 18 x 6.5 ft.

Jene Highstein

New York

Clocktower Gallery

When I arrived in New York in late 1975, straight from an MFA program in sculpture, I recall seeing Jene Highstein’s forms and not knowing exactly what to make of them. They played a prominent role in various exhibitions at the alternative spaces where sculpture was being shown at the time, and somehow the context was exactly right. Late Mini­malism had taken over raw-space galleries and the other vast avant-garde haunts that attracted younger artists, many of them in SoHo, TriBeCa, and Long Island City. Within this relatively contained, yet thriving environment, there could be lit-­ tle doubt that Highstein’s organic mounds, tapered menhirs, and smoothly compressed ova rode on the crest of some new visual tendency, an energetic reach beyond the previous decade’s Platonic “primary forms.” … see the entire review in the print version of March’s Sculpture magazine.