{"id":434648,"date":"2026-05-24T10:00:09","date_gmt":"2026-05-24T14:00:09","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=434648"},"modified":"2026-06-11T03:22:14","modified_gmt":"2026-06-11T07:22:14","slug":"david-haskell","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/david-haskell\/","title":{"rendered":"An Assemblage Sculpture by Magazine Editor, Distiller and Ceramist David Haskell Evokes Maine’s Rocky Coast"},"content":{"rendered":"
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4 Pc. Assemblage Sculpture #3<\/em><\/a>, 2022, by David Haskell. Photo by Michael Mundy<\/figcaption><\/figure>\n<\/div>\n\n\n

David Haskell<\/a>\u2019s ceramics challenge the laws of physics and the rules of perception with volumes that press skywards in mind-boggling balancing acts and painstakingly applied glazes that flow down to terra firma. Adding to the canon of abstract modernist sculpture, they exude equal measures of assertiveness and precariousness that resonate with interior designers that include Damon Liss<\/a>, Rafael de C\u00e1rdenas<\/a> and Thad Hayes<\/a>, as well as collectors like media mogul Barry Diller.<\/p>\n\n\n\n

\u201cI\u2019m often working in a minor key,\u201d the artist says of his totemic constructions. \u201cAnxiety is an interesting emotion to play with, and a piece that reads as structurally unstable is thrilling and sometimes unnerving.\u201d <\/p>\n\n\n\n

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Viewed from various angles, the delicate balance of the three forms on the base of Haskell’s 4 Pc. Assemblage Sculpture #3<\/em><\/a> is even more impressive.<\/figcaption><\/figure>\n\n\n\n

That is undeniably true of Haskell\u2019s 2022 4 Pc. Assemblage Sculpture #3<\/em><\/a>. The black clay work dripping with turquoise glaze is on display, alongside his recent bronze and glass pieces, at Donzella Ltd.<\/a> in New York City through June 30 in a show titled \u201cDavid Haskell: Boom Beach,\u201d referring to a stretch of coastline on an island in Maine that has inspired the artist’s work.<\/p>\n\n\n\n

\u201cThe surfaces are perfectly smooth, and yet they hit me as dented, deflated, almost injured,\u201d Paul Donzella<\/a>, the founder of the 20th-century-design gallery, says of the wheel-thrown elements in Haskell\u2019s assemblages. \u201cThese forms are tumbling and somehow manage to stop at the edge before they fall off, which I find so compelling.\u201d Assemblage Sculpture #3<\/em>, which measures 19.5 inches tall, served as the inspiration for the exhibition\u2019s hero piece, a six-foot-tall bronze cast at the Chipon Foundry in France. \u201cThree ovoid shapes on a conic base are iconic pieces for David,\u201d Donzella adds. \u201cHe\u2019s been making these almost since the beginning.\u201d<\/p>\n\n\n\n

Raised in New York City and Connecticut, Haskell began throwing clay as a teenager, getting a kick wheel for his 16th birthday in 1995. After earning a BA at Yale, however, he followed his passion for architectural history, studying at Cambridge University, where he also created Topic<\/em> magazine. After relocating to New York City, he became the founding executive director of the Urban Design Forum and worked at New York Magazine<\/em>, where he has been editor in chief since 2019. He also became a partner in the whiskey company Kings County Distillery in 2010.<\/p>\n\n\n

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The exhibition “David Haskell: Boom Beach,” is on view at Donzella Ltd. in New York through June 12. Photo by Eric McNatt<\/figcaption><\/figure>\n<\/div>\n\n\n

Haskell returned to ceramics in 2013, seeing it as a creative endeavor that was, he explains, \u201cmore solitary, my own actual project, a pure exploration of form.\u201d By 2015, he was showing planters paired with cacti at Coming Soon, a home decor store in New York City. Donzella, cursed with a brown thumb, admits he \u201cbought the plants just to get the pots\u201d and encouraged Haskell to create nonfunctional works as part of the gallery\u2019s roster of contemporary ceramic artists, which includes Chris Gustin<\/a>, Lucien Petit<\/a> and Rosanne Sniderman<\/a>. <\/p>\n\n\n\n

\u201cFrom the get-go, I was inspired by the scale of Henry Moore<\/a> and Barbara Hepworth<\/a> sculptures and Isamu Noguchi<\/a>\u2019s relationship to nature,\u201d says Haskell, who cites the Noguchi Museum in Long Island City as his favorite place in New York. \u201cI was interested in what happened as I started pressing the physical limits of wheel-thrown pieces, attaching them together and referencing natural forms \u2014 sometimes humans, plants and stacked rocks, like the cairns I used to see when I went hiking. I want the pieces to feel organically old and evoke emotion that comes from experience, like that feeling you have coming up against a mature oak tree planted in the 1800s.\u201d<\/p>\n\n\n\n

Haskell\u2019s sculptures scratch Donzella\u2019s itch for organic and architectural ceramics. \u201cI am drawn to strong forms, and they are not wallflowers. They also don\u2019t overpower the pieces they are shown with,\u201d he says, noting that Haskell’s works pair handsomely with Arts and Crafts<\/a>, Art Deco<\/a> and Italian modern furniture, Frank Lloyd Wright<\/a> gentleman\u2019s chests and bronze tables by Philip and Kelvin LaVerne<\/a>.<\/p>\n\n\n\n

\u201cLike so many collectors, I feel an internal aesthetic connection to David\u2019s work,\u201d Donzella adds. \u201cYou see it, you walk away, and you\u2019re haunted by it until you have to take it home.\u201d <\/p>\n\n\n\t

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David Haskell\u2019s ceramics challenge the laws of physics and the rules of perception with volumes that press skywards in mind-boggling balancing acts and painstakingly applied glazes that flow down to terra firma. Adding to the canon of abstract modernist sculpture, they exude equal measures of assertiveness and precariousness that resonate with interior designers that include […]<\/p>\n","protected":false},"author":293,"featured_media":434710,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2026-05-19T17:55:11Z","apple_news_api_id":"4c939b99-d5a4-42e0-8e3c-8012a7a91ede","apple_news_api_modified_at":"2026-05-24T14:09:12Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAAAg==","apple_news_api_share_url":"https:\/\/apple.news\/ATJObmdWkQuCOPIASp6ke3g","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[260,15568218],"tags":[],"dibs-categories":[],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[],"dibs-sellers":[],"class_list":["post-434648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fine-art","category-obsession-of-the-week"],"acf":{"post_format":"article","subtitle":"Rendered in black clay, with a turquoise glaze, the piece is composed of organic forms that seem to be precariously balanced on a conical base. 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