ApresGarde is an upcoming art exhibition at the recently-opened Gallery 1988 in San Francisco, curated by renowned pop surrealist painter Anthony Ausgang.

The show's opening reception is on Saturday, October 6, at 7:00pm.

This exhibition identifies a cross-section of artists working in the contemporary alternative arts movement known as “Apres Garde.”  These artists are enthusiastically promoting the idea of a vital “rear guard,” an anti-Avant Garde that takes its cues from Street art, Lowbrow art and other inspirational subcultures that the “official” art world refuses to recognize.  This exhibition collects those artists who find the cutting edge to be a dull scratch and who reject highbrow art values, thus refuting the legitimacy of the Avant Garde. 

The genres represented run a startling range, from the lenticular art of Howard Hallis and the holographic work of Treiops Treyfid, to the Lilith-inspired drawings of Dame Darcy, the mad puppets of Marcel DeJure, and virtual stoner paintings of Dani Tull.  The keyhole paintings of Jason Maloney refresh the tired art voyeur, while Andrew Foster’s paintings very literally put a smiling face to tragedy.  Painter Dave Burke explores the forgotten highways of hot rod monster culture, while animator Stephen Holman turns outrage into painted cartoon tomfoolery. Street cred is brought into the gallery by graf artist Sonik Mercury, while Walt Hall makes "dimension bending" the focus of his attack on trad graphics. Outsider artist Harry Blitzstein keeps things real by ignoring most contemporary art, even as Attaboy posts his spidery tributes to cartoondom with his own work and his Post-Brow broadsheet "High Fructose." Keith Weesner makes custom cars the focus of his tight representations of Kustom Kulture, as The Pizz storms the beachheads of high-dollar hot rodders in order to bring things back down to a a greasy knuckled low. Scott Saw brings back the beautiful with his delicate musings on the human condition, as Paul Arden mixes it up with his post- painterly Abstraction. Finally, KRK Ryden re-imagines America's glory days as a post-nuclear breeding ground for mutant motifs.  

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