The exuberant pre-crash 2007 exhibition “Makers and Modelers: Works in Ceramics,” in which sixty-four ceramic objects by thirty-one artists crowded Chelsea’s Gladstone Gallery, was a watershed moment for the medium. Today, it’s difficult to remember a time when ceramics was largely relegated to the world of craft, where its forms were attentively cultivated, assessed, and distributed. Or an art world without Sterling Ruby’s basins or Jessica Jackson Hutchins’s slovenly ceramic and furniture sculptures. Michael Kaysen’s exhibition of twenty-one vessels, each titled Bottle and collectively dating