Opens October 16th, 2025

The Haight Street Art Center is delighted to present Hiding Places: Jermaine Rogers—Posters, Serigraphs, and Assorted Works, running from October 16 to December 14, 2025. A reception for the artist will be held on October 17 from 6 to 9 p.m., the night before The Rock Poster Society’s annual Festival of Rock Posters at the Hall of Flowers in Golden Gate Park, where Rogers will have a booth.

Featuring more than 125 gig posters—from rarities dating to the mid-1990s to one-of-a-kind defaced prints—for such bands as Queens of the Stone Age, Nine Inch Nails, Foo Fighters, Run the Jewels, Soundgarden, and The Cure, Hiding Places is the largest showing of the Houston, Texas, native’s work in a decade. In addition to gig posters, the exhibition will also feature art prints, remarqued prints, original drawings, exclusive drops of new vinyl toys and prints, and a number of fiberglass and resin figures.

Rogers’ work is in the collections of the Rock & Roll Hall of Fame in Cleveland, Ohio, and the Museum of Pop Culture in Seattle, Washington. As a rock-poster artist, Rogers works in a notoriously exploitative world, in which bands and promoters pay artists as little as possible to goose their take at a concert’s merch table. Fair being fair, Rogers makes sure he gets what he needs out of his clients, which means that his posters are always about more than just a band’s name, a venue, and some dates. A typical Jermaine Rogers rock poster (if there even is such a thing) features sharp commentary on the routine hypocrisies and acts of downright evil that pervade contemporary culture. Rogers’ fans love that his posters are both cool and have something to say, as do his clients, perhaps because his uncensored speech blunts grumblings that they might have sold out.

As an artist, without the “rock-poster” modifier, Rogers takes his observations on the human condition even further, often letting a menagerie of recurring characters—floppy-earred bunnies, woodland raccoons, and mildly creepy bear-like creatures called Deros—give voice to his fears, insecurities, and general sense of outrage. “You need not rush out to meet me halfway,” Deathin the formof a green-robed skeleton cautions Rogers’ alter-ego Leporidae, its bony fingerpoking the bunny’s nose. In another piece, a downcast rabbit stands above a lyric famously sung by Nina Simone that could apply to interpersonal experiences or broader ones: “Get up from the table when love is no longer being served.” Good advice.

Please note: Although the exhibition opens to the public on Thursday October 16 at noon, nothing will be for sale from the artist until Friday October 17 at 6 p.m. Those interested in purchasing a piece of Rogers’ work can get a number designating their place in line as early as Friday October 17 at 3 p.m. While you wait, please enjoy The Big Twang! Hardly Strictly Bluegrass at 25 in our Print Studio Gallery, as well as the debut exhibition in Epicenter, the Haight Street Art Center’s new gallery featuring original drawings and works of art used to create the iconic rock posters of the 1960s

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