Here Be Monsters
Flanders 311—A cacophony of beasties is about to be unleashed at Flanders 311 with this aptly named show. The exhibition takes a cue from the bestiaries of 12th-century England, which were allegorical works encompassing descriptions of all sorts of creatures of the time, both real and imagined. A key feature of the bestiaries was not only their attention to physical detail but also a proselytizing ability to mine the depths of both the psyche and the primal, putting forth signs that were simultaneously moralizing and cautionary.
The artists at Flanders have taken up this contemporary call of the wild and explore these themes and their manifestations in our present moment, utilizing a wide variety of media and styles. Many pieces in the show take a literal approach such as the chimera paintings of Asya Dodina and Slava Polischuk, and Julie Armbruster's mixed media cartoon gremlins. But there are also more enigmatic works like Alison Overton's hand-toned photograph of a surreal, gnarly landscape that dwells more in the mysterious and magical. These works will challenge your own preconceptions about what monsters might be and do in our own day and age, but they leave no doubt about our continuing fascination both with creatures of the external world and our own demons within. —Dave DelcambreHere Be Monsters: An Abridged Bestiary of Contemporary Monsters, Both Real and Imagined opens tonight at Flanders 311, located at 311 W. Martin St., Raleigh. The opening reception is 6-9 p.m., and the exhibit runs through April 2. Visit www.flandersartgallery.com for more info.
Business Networking Center—Ideally, you learn something—about the artist, about the songs, about yourself—whenever you see someone play live music. It's a given that a performance by Scott Ainslie, blues guitarist and historian, will make you a bit wiser. Ainslie embraced blues music with the crazy love of a fan and the admiration of an academic long ago, and he shares those feelings through his music and his stories. Sure, acquiring knowledge can be painful, but Ainslie, skilled teacher and stage commander that he is, makes the transfer go down easy. Class starts at 8 p.m., kids, and tuition is $10. —Rick Cornell
Berkeley Cafe—Charlotte's blood-sucking, guitar-ripping monster of mean, Unknown Hinson cracks wise and sings wry. Now a television cartoon star (see Cartoon Network's The Squidbillies), Hinson plays Berkeley tonight at 9 p.m. for $7.
Municipal Waste, Soilent Green, Iron Lung
Volume 11 Tavern—If D.R.I. is the king of crossover thrash, then Municipal Waste is its Fresh Prince. As notorious for its bong rips as its guitar licks, the Richmond, Va., four-piece boasts killer high-speed guitar dynamics, one of metal's more prized drummers in Dave Witte and the lyrical genius behind such songs as "The Thrashin' of the Christ," "Lunch Hall Food Brawl" and "Beer Pressure."
Veteran metal monster Soilent Green and the West Coast's leading purveyor of uncompromising brutality, Iron Lung, have the middle slots of this five-band blowout: While both are as close to grindcore as anything, New Orleans' Soilent Green blasts its Southern roots like Eyehategod, and Iron Lung takes its two-man approach from the more chaotic side of powerviolence pioneers Man is the Bastard. Legion of the Fallen and Ugly Law open. Pay $10 at 8 p.m. —Rich Ivey
Killer of Sheep
N.C. Museum of Art—Killer of Sheep, the 1977 film shot on a shoestring budget by UCLA film student Charles Burnett, may be one of cinema's best-kept secrets. The film, a haunting examination of the black Los Angeles ghetto of Watts in the mid-1970s, tells its story through a series of beautifully shot vignettes that are as raw as the streets Burnett used for the film's backdrop. Shot in dynamic black and white and boasting an ambitious soundtrack (Little Walter; Elmore James; Dinah Washington; and Earth, Wind and Fire, among others), the film evokes a clear sense of despair through a kind of poetic cinema, shining a discerning eye on the plight of its main character, a slaughterhouse worker who pushes sheep towards their grisly end. Unseen for years, this American masterpiece is getting its long-overdue public release after being restored (and enlarged) from a grainy 16 mm print to a well-deserved 35 mm. This film will see its North Carolina premiere at 8 p.m. for $5. N&O critic Craig Lindsey will introduce the film. —Kathy Justice