View of “Michael Kaysen,” 2015.

View of “Michael Kaysen,” 2015.

Michael Kaysen


View of “Michael Kaysen,” 2015.

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 from 2007 to 2014, served as a thoughtful counter to the narrative of “Makers and Modelers,” redirecting the discourse of contemporary ceramics back to pottery—where form is content, where structure and material are gracefully entangled, and where the philosophy of repetition and

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