Vile Days with Gary Indiana and Bruce Hainley
March 15; 7 p.m.
Gary Indiana chronicled the art scene in New York City from 1985 to 1988, documenting a transformative period marked by Reaganism and the AIDS crisis for now-defunct alt-weekly The Village Voice. His columns from this period have been compiled into a new tome, titled “Vile Days,” which will be the focus of an upcoming discussion between Indiana and Bruce Hainley at SculptureCenter.
A People’s Observance for a Just Future: 400 Years of Inequality
The New School, Manhattan
March 15; 12:30 p.m. to 6:30 p.m.
How has inequality proliferated in the 400 years since Africans were forced into chattel slavery? Several artistic performances, one film presentation and a slew of mini-lectures from scholars will grapple with the bloody history of America.
Kind of Blue: Japanese Artists Working with Celadon and Beyond
Dai Ichi Arts, LTD, Manhattan
Through March 23; opening reception March 14, 5 p.m. to 8 p.m.
“Kind of Blue” demonstrates how the coloring and glazing practice known as “celadon” has shaped the history of pottery following its invention some 3,500 years ago in China. Work from contemporary masters of the technique will be on display, along with historical examples.
Women in the Heights — Creating for Change
Rio II Gallery, Manhattan
Through March 29
Timed to coincide with Women’s History Month, this expansive exhibition features the work of local women artists working at the intersection of art and activism. Visual pieces from Yael Ben-Zion, Leenda Bonilla, Susan Bresler, Nadema Agard and more will be on display.
Clamp Art, Manhattan
March 14-April 27
Photographer Pipo Nguyen-duy rented a small hotel room in Ho Chi Minh City, Vietnam, in 2015. Over the course of the next two years, he obsessively photographed what he saw outside the second-floor window, resulting in the work now on display at Clamp Art. Of his pursuit, Nguyen-duy said: “I aim to document, as if from the perspective of a natural scientist or archeologist. Using the camera to record facts rather than regarding it as a subjective tool.”