Sculpture.

Entering the 2018 Constantin Brancusi exhibition at MoMA, I am met at the portal by Maiastra  (1910-12), the youngest work in the show. A totem pole of limestone, a carving of two rough-hewn figures stood atop a block of limestone, leaning into one another, and one of their faces so concealed as they hold a block of limestone equal to that underfoot upon their heads. And crowning the tower of rock is the maiastra, a reference to a creature of Romanian myth. A smooth, futurist bud of marble. With a swollen chest like a tulip, neck like its stem snipped at the end. A little carved beak with little round eyes. This was Brancusi's first bird-form sculpture, a motif used by art history to define the artist's career. And a fitting doorman, gatekeeper. Standing tall and phallic like a monolith, hewn by hand and made of stone like a monolith, and bearing a simple iconography immediately identifying itself with the religious, or at least mythic (that is an image of man and/or woman ...

https://www.art-agenda.com/reviews/rachel-harrisons-asdfjkl-at-regen-projects-la/ In the early summer of 2010, Rachel Harrison exhibited six sculptures at her show "Asdfjkl;", including these four imaged above. Brutal, lumbering forms of bubbling stucco who assault their viewer with naked, shameless color. Super-absurdist nightmares leaning in every direction at once. Yet each bears a readymade badge grounding it firmly in, or at least parallel to our pop-cultural reality. For  Signature Roll , the monolithic eeyore whose towering torso seems to really undulate and convulse, it's a dangling sushi menu. For the tall cubist figure with the coked-out-Miami-Mexican-restaurant skin Pablo Escobar , it's a cluster of decorative glossy ceramic chili peppers hanging from his shoulder. Along with Siren Serenade , the dainty black fellow in the corner of the first image, they stand around the stout Around the Water Cooler , "an opalescent white block with an une...