Arts Picks




Seattle photographer Glenn Rudolph has a knack for finding weirdness on the margins: mysterious narratives set in trailer parks, flea markets, and other rural backwaters throughout the Northwest. (Lord Daemon, 2001, is above.) Rudolph's is a world where gothic teens camp in neglected parks, farmers struggle as suburbs sprawl in their midst, and off-grid idealists watch their dreams curdle. He was one of the few Seattle artists to make it into the "Baja to Vancouver" show of West Coast art that was recently at SAM; "Folklore" is his first solo show at James Harris. Reception: 6–8 p.m. Wed., March 31, James Harris Gallery, 309A Third Ave., 206-903-6220. ANDREW ENGELSON




In the '70s, Ian McEwan and Martin Amis crashed the prissy tea party of English literature like Johnny Rotten and Sid Vicious pissed to the gills. "Ian Macabre," as he was dubbed, eschewed Austen and aped Burroughs, Roth, and Miller in unnaturalist tales of parricide and penises in pickle jars. Amis never quite grew up; McEwan did, most stunningly in 2002's Atonement, an epochal Austen-esque best seller that captures vaster, subtler kinds of violence: the class system, Dunkirk, the scary imagination of children and artists, the lacerating insights of old age. A past master of monster fiction, McEwan discovered the terrible beauty of innuendoes. 7:30 p.m. Wed., March 31. $18–$23, $9 students/ under 25. Benaroya Hall, Third Avenue and Union Street, 206-621-2230. TIM APPELO




Billed as "a hip Hope and Crosby for the '90s," this unrelentingly oddball 1991 cult film is more like Waiting for Godot set in Death Valley. Crispin Glover dances and hallucinates in the role of Rubin, a loner who lives with his mother in a middle-of-nowhere motel (sound familiar?), while salesman Ed (Howard Hesseman) is desperate to rope some unsuspecting dimwit into a pyramid scheme. A strange, shaggy mess of a movie, it will launch the Grand Illusion's reopening under new owners after a monthlong hiatus. And everything's a dollar—admission, popcorn, Milk Duds, everything! 7, 9, and 11 p.m. Thurs., April 1. $1. Grand Illusion, 1403 N.E. 50th St., 206-523-3935. NEAL SCHINDLER




Two recent UW MFA grads meditate on the mattress—the repository of our dreams, our sweat, our intimacies. Tímea Tihanyi strips away its covering and replaces its spring coils with 400 colored nylon tubes stretched between metal planes, creating kidneylike filters for whatever fluids are deposited (see photo). Jodi Rockwell wraps her mattress in latex skin and girds it with teardrop-shaped balloons that sag with the weight of blue water they contain—they're suspended overhead and ready to burst like a cloud. An old queen (mattress, that is) lies spent and defeated on the floor, while mattress stuffing, and all it contains, provides Rockwell the material for a landscape. Opening reception: 7–10 p.m. Sat., April 3. SOIL, 1317 E. Pine St., 206-264-8061. MARK D. FEFER




On the Boards' annual two-weekend marathon has featured unusual work in the past, but this is the first time a rabbit has headlined a show. The quartet of men in The Applicants, a dance- theater piece by Jessica Jobaris, are full of bluster and shyness as they present themselves in a stumbling version of The Dating Game overseen by projected images of Sophie the rabbit. It's furtive, odd, almost sweet, and one of eight pieces spread over two programs in the first weekend. 5 p.m. Sat., April 3. $12. On the Boards, 100 W. Roy St., 206-217-9888. SANDRA KURTZ

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