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Todd Baldwin: Dismantle, Combine
October 3 - November 2, 2014
Opening Reception: Friday, October 3, 6-10pm


Throughout the 20th century and into the 21st, a particular strain of artists from Kurt Schwitters to Richard Tuttle have worked to bend our attention to the poetry, surprise, and profundity of the commonplace materials that fill our everyday lives. This mode of art-making argues that an aesthetic experience need not be lodged in a specialized realm of esoteric or precious materials, but that the ephemera, detritus, and waste that drift all around us on a daily basis are as full of expressive potential as bronze, marble, rare pigments, or gold leaf. Working class, lowly debris is perhaps even more capable of enchantment since its unassuming status catches us so off guard.

Our October exhibition features the poetic miscellany of Tiger Strikes Asteroid  member Todd Baldwin. Baldwin approaches making art through exploration and experimentation. A mash-up-maestro, alchemist, scientist, his current work is a series of assemblages that contain found and hand-constructed objects that push discarded materials out of the context of the mundane and into mystical, yet familiar lyrical sculptures.

Todd Baldwin was born in Trenton, New Jersey in 1975. He earned a Bachelor of Fine Arts degree from Rutgers University, Mason Gross School of the Arts in 1997, and a Master of Fine Arts degree from Vermont College of Fine Arts in 2010. Baldwin has exhibited sculpture and photography steadily since the early 1990′s, and joined Tiger Strikes Asteroid in 2013.

Todd Baldwin: Dismantle, Combine
October 3 - November 2, 2014
Opening Reception: Friday, October 3, 6-10pm

Tiger Strikes Asteroid installed at (e)merge Art Fair! 

October 2-5, 2014 at the Rubell Family’s Capitol Skyline Hotel, in Washington, DC.






Way Down Low

Curated by Ezra Masch

September 5 - September 28, 2014 

Opening Reception: Friday, September 5, 6-10pm

Tiger Strikes Asteroid opens the Fall Season with a group exhibition, curated by Ezra Masch.
Way Down Low, features works by Jaime Alvarez, Ben Brandt, Janaye Brown, and Jay Muhlin.

"The element that unifies this exhibition is detritus. Whether documented, depicted, or modified in the studio, each work contains something discarded, abandoned, lost or neglected. I make the distinction between detritus and trash because trash is collected and grouped together with other waste, whereas detritus is a remnant of something that is no longer there. Detritus is the trace, or the remains of a whole. It always refers to something larger than itself. In this show, the detritus of everyday life mixes with detritus of the art-making process. Each artist takes the remains of a person, place, object, or event, and turns it into the subject, or material of their work. And in each case, the result is transformative."

-Ezra Masch

Ezra Masch is an inter-disciplinary artist from Philadelphia who creates sculpture, installation, sound and performance works. Masch received a BFA in Sculpture from the Rhode Island School of Design in 2004, and an MFA in Studio Art from the University of Texas in 2012. He also attended the Skowhegan School of Painting and Sculpture in the Summer of 2011. After returning to Philadelphia in 2013, Masch joined Tiger Strikes Asteroid, an artist-run gallery space at 319 N. 11th St. He currently teaches Foundation and Fine Arts courses at the Moore College of Art and Design.

319A North 11th Street 2H, Philadelphia, PA 19107 |

The urban landscape is littered – literally – with the discarded stuff of (mostly human) life. Food refuse, trash, industrial decay… bits and pieces, and odds and ends that have lost their meaning by way of their inglorious disposal. While it may be the ultimate cliché to say that one person’s trash is another’s treasure, four artists at Tiger Strikes Asteroid – Jaime Alvarez, Ben Brandt, Janaye Brown and Jay Muhlin – have taken it upon themselves to somehow turn objects of ill-repute into items worthy of our attention in the show “Way Down Low” curated by Ezra Masch.

Jay Muhlin from the series "Our Bones And Their True Names."

Jay Muhlin from the series “Our Bones And Their True Names.”

Last of the ways one would expect to find detritus on display is probably in a light box, but that didn’t stop Jay Muhlin and Jaime Alvarez from turning lightly crinkled metal foil and smashed convenience store cups into glowing wall fixtures. Since we might often encounter such backlit cases as restaurant menus or in other, more appetizing locations, discovering one with a car window full of bird droppings is a real show stopper.

Jay Muhlin from the series "Our Bones And Their True Names."

Jay Muhlin from the series “Our Bones And Their True Names.”

Glorifying such a messy scene at first seems like a betrayal of art’s occasional claims to beauty and other ideals, but at further inspection, the image itself – content aside – is rather fascinating. The round bend of the window’s black molding against the white body of the vehicle, the orangey heating filaments in the window itself, and the texture and patterning of the excrement itself are all compositionally fine, although not quite fit for the corner Chinese takeout down the street. As if this very consumption were intentionally upended elsewhere, we find a halved “BIG GULP” cup from 7-Eleven lying in the mottled, black setting of a city street. The logo is upside down and the cup is at less than half the size it should be, complete with a hole at the very bottom. While Muhlin doesn’t directly condemn our society of waste, the message here seems to indicate a self-consciousness at the very least.

Jaime Alvarez, "Untitled (Cliff 2)" from the series "Instruments of Cope."

Jaime Alvarez, “Untitled (Cliff 2)” from the series “Instruments of Cope.”

With a turn for the three dimensional, we find a sort of collapsing structure by Ben Brandt that looks like it could easily be any indistinguishable piece of a partly demolished warehouse. The external concrete texture betrays its actual materials. Is this wilting mass composed of wood, metal or plastic underneath? If it were not for its placement in an art viewing space, would this object warrant a second glance?

Ben Brandt, "Magic Carpet / Old Mechanical Bull."

Ben Brandt, “Magic Carpet / Old Mechanical Bull.”

Aside from the above questions, it is clear that the form is intentional and almost resembles a miniature sagging segment of Stonehenge if not for the appearance of its almost liquefied bottom and wooden shipping crate pedestal. The base of unfinished wood hints that it is under construction, being disassembled, or that its components are themselves salvaged parts. Since building supplies and art shipping containers bear such a resemblance to one another, the bare plywood and two-by-fours, not to mention the hunk of gray matter itself, do well to blur the lines between raw materials, refuse and art objects.

Janaye Brown, still from "Swan Song."

Janaye Brown, still from “Swan Song.”

In the small room near the entrance to the galley, we find a looping video by Janaye Brown. In it, there is merely the visage of a metal pole around which some type of metallic textile is tied as it flaps in the wind. The foil-like flag is at half-mast, and greatly resembles Alvarez’s piece, except that it is bathed in a deep red lighting. Silent and all but hidden away, this nocturne is at once a tribute to and a eulogy for these abandoned and neglected parts of the world.

All of these artworks and artifacts will be on view at Tiger Strikes Asteroid through September 28.

Tiger Strikes Asteroid is located at 319 North 11th St., on the second floor, Philadelphia;;


Gary Petersen: zip line tow rope

Curated by Alexis Granwell

August 1 - August 31, 2014

Opening Reception: Friday, August 1, 6-10pm


Tiger Strikes Asteroid is excited to welcome acclaimed New York artist Gary Petersen to the gallery for a solo show organized by Alexis Granwell. Petersen is creating a new site-specific 14’ x 19’ wall painting in addition to several works on paper for our August exhibition, zip line tow rope.  Peterson has installed wall paintings at Ed Winkelman Gallery and Elizabeth Foundation for the Arts, but this will be his largest painting to date. Petersen is well-known for animated geometric abstractions that contain complex and puzzling spaces.


As serious and pop-comic as, say, Hilma af Klint plus Nicholas Krushenick, Petersen’s layers of skewed, flexing parallelograms, solid or frame-like, compete yet fail to completely make order and sense. Things come apart or won’t align, like a haywire TV test pattern or exploded diagram. Unjoined framing recalls the mood in de Chirico’s haunting perspectives; vertigo and Hitchcock’s Vertigo come to eye and mind. Order à la Uccello’s series “The Battle of San Romano” under scrutiny collapses into the dissonant space of Manet’s “A Bar at the Folies-Bergère,” or the shifts to the dense, chaotic energy of Ensor’s “Christ’s Entry Into Brussels in 1889.” Teasingly aggressive, initially unsettling but ultimately playful, these constructions don’t conform to nature’s rules; what is solid becomes open, and what is stable turns otherwise.

- From the exhibition essay by Chris Ashley

Gary Petersen was born in Staten Island, New York. He holds a B.S. degree from The Pennsylvania State University and an M.F.A. from The School of Visual Arts. Awards have included The American Academy of Arts and Letters Art Purchase Award 2014, The Marie Walsh Sharpe Foundation, Space Program 2010-2011, in Brooklyn, New York, The New Jersey State Council on the Arts, Painting Fellowship Award for 2011, 2002,1993 and the Visual Arts Fellowship Award, Edward F. Albee Foundation, 1988. His work has been exhibited widely in New York City and throughout the United States. He has had solo exhibitions at Winkleman Gallery CRL (2013), Michael Steinberg (New York), 2005; Fusebox (D.C.), 2004; Genovese/Sullivan Gallery (Boston), 2002 & 1999; White Columns (New York), 1992. Recent group exhibitions have included The Elizabeth Harris Gallery, The American Academy of Arts and Letters 2014 Invitational Exhibition, Brian Morris Gallery, The United States State Department, Frosch and Portmann Gallery, Edward Thorp Gallery and Mckenzie Fine Art. Past group exhibitions include Janet Kurnatowski, Theodore Art, Geoffrey Young Gallery, Lori Bookstein, Jason McCoy Gallery, Nicole Klagsbrun, Diverse Works (TX), Newark Museum and The American Academy of Arts and Letters Invitational Exhibition in 1993. Upcoming exhibitions include a solo show at Tiger Strikes Asteroid (Phildadelphia), 2014 and a wall painting project at the Visual Arts Center in Summit (New Jersey), 2014. In 2013 he curated a group exhibition titled “Endless Summer”, at the Brian Morris Gallery, which was reviewed in Art in America. His work has been reviewed in Art in America (2012 and 2005), The Wall Street Journal, The New York Sun, The New York Times, The Boston Globe, and The Partisan Review. He currently has a studio at The Elizabeth Foundation for the Arts in New York City and resides in Hoboken, New Jersey.

Alexis Granwell has exhibited internationally including a 2005 solo exhibition at the Europos Parkas Museum, Vilinius, Lithuania. Other venues include exhibitions at IPCNY, New York, NY, Shoshana Wayne Gallery, Los Angeles, CA, Lawndale Art Center, Houston, TX, Delaware Center for Contemporary Art, Wilmington, DE, University of Richmond Art Museum, Richmond, VA, The Print Center, Ontario, CA, Arlington Center for the Arts, Arlington, VA, Pentimenti Gallery, Philadelphia, PA, Hemphill Gallery, Washington DC and Bryan Miller Gallery, Houston, TX. This past year, she had solo shows at Towson University, Towson, MD and Giampietro Gallery, New Haven, CT.  Her work has been reviewed in The Globe and Mail, The Philadelphia Inquirer and The Washington Post. Granwell received her MFA (2007) at the University of Pennsylvania. She teaches foundation drawing at Tyler School of Art and printmaking at Moore College of Art and Design. She is one of the founding members of Tiger Strikes Asteroid.

Gary Petersen : zip line tow rope
Curated by Alexis Granwell

August 1 – August 31, 2014
Opening reception: Friday, August 1, 2014, 6pm -10pm

Hours:  Saturday and Sunday, 2pm-6pm and by appointment 

zip line tow rope
August 1 - August 31, 2014 
Opening reception: Friday, August 1, 2014, 6pm -10pm

Hours:  Saturday and Sunday, 2pm-6pm and by appointment

Jawnts: An art exhibition for the

geometrically minded

Gary Petersen prepares his works in Philadelphia. "I take that notion of geometry and endow it with a ´60s pop sensibility," he says.

Gary Petersen prepares his works in Philadelphia. “I take that notion of geometry and endow it with a ’60s pop sensibility,” he says. Alexis Granwell

By: Jake Blumgart

Just north of Vine Street, in a jumble of warehouses, tunnels, and soon-to-be condos, sits a long-standing warren of artist collectives. It is home to such memorably named conglomerations as Grizzly Grizzly, Vox Populi, Marginal Utility, and Tiger Strikes Asteroid. You’ll know it by the full bike rack out front.

This month Tiger Strikes Asteroid will be hosting a full-wall effort from New York-based artist Gary Petersen, called “zip line tow rope.” One side of the room is now corn yellow and cut across with a network of multicolored bands that expand, contract, and branch off of one another. It’s an airily mesmerizing effect.

"Usually you think of geometry as very orderly, almost spiritual," says Petersen. "I take that notion of geometry and endow it with a ’60s pop sensibility. There’s a slightly aerodynamic feel to it. When I work there is no sketch or plan. I respond to the space on sight."

He painted the west side of the room yellow on Sunday and, on Wednesday night, was putting the finishing touch (a purple one) on the piece. “zip line tow rope” is his largest painting, 14 feet high by 19 feet wide. It will be on display for the month and then painted over on Aug. 31. The eastern wall will be inhabited by a few of his smaller exhibitions.

Petersen is a Staten Island native who lives in Hoboken and paints in Manhattan. His previous work follows a similar tack, but on paper and wood panel, featuring vast expanses of barely contained, variously hued chaos.

The New York City of his youth - he was born in 1958 - will be familiar only to those millennials who have seen The Warriors. Petersen shares the standard, and well-warranted, fear of those who were around for the fiscal crisis and Richard Hell: Today, too many people are being priced out of the city. The art scene fueled by cheap rents and a 24/7 subway system will soon go the way of CBGB.

Philadelphia has both the cheaper rent and, at least for this summer, the all-night subways. While Petersen refrains from echoing Patti Smith’s recent call for artists and musicians to flee New York in search of cheaper real estate, he says, “The energy that’s bubbling up in Philadelphia is a really good vibe. I think there’s a good scene here that’s really happening.”

Zip line tow rope

Through August at Tiger Strikes Asteroid, 319A N. 11th St. Saturdays and Sundays, 2 p.m.-6 p.m. and by appointment., 484-469-0319, or

Imperfect geometry — Gary

Petersen’s zip line tow rope


August 21, 2014

[Noreen gets sucked into an energetic but unsettling work that speaks to color’s undeniable links with emotion; she places it in context with other artists and movements. — the artblog editors]

Western painting in the past two centuries exhibits an on-and-off relationship with color; from the wild oranges and yellows of the Fauvists to the abandonment of color in World War-era Expressionism. However, the love of color returned with mid-20th-century painters–pioneers of movements such as Post-Painterly Abstraction, Hard-Edge, and Color Field Painting. zip line tow rope, a new exhibition by Gary Petersen at Tiger Strikes Asteroid, reveres and redefines this formative era of imagery and ideals.

Leading lines

Zip Line Tow Rope (detail)

Gary Petersen, “zip line tow rope” (detail).

The wall painting that gives the show its title, “zip line tow rope,” absorbs two of the gallery’s adjacent walls. Forsaking the clean white wall paint for a creamy yellow, Petersen created a floor-to-ceiling backdrop, upon which plays a multitude of flashing, dancing color. The painted forms crisscross the walls in hard-edge, horizontal strips, ranging from candied pinks, purples, and oranges to powder blues and dusty grays.

At moments, they interlock and weave together, harmonizing, but never at right angles, creating a dialogue of imperfect geometry. All edges in the painting are crisp, neatly composed, but the artist did not preconceive the composition. This element of chance and spontaneity lends a sense of humanity and uncertainty to seemingly perfect hard edges and artificial colors.

This large-scale work marks the third of its kind in Petersen’s career, beginning with the 2011 group exhibitionWallworks at the Painting Center in New York City. His previous works contain themselves in organic, bursting forms and employ a similar palette, but on a much smaller scale. Yet Petersen works with the gargantuan format of wall painting confidently and mindfully, exploring the conversation between two intersecting walls with a dynamic juxtaposition.

The sweeping horizontals of Zip Line Tow Rope

The sweeping horizontals of Gary Petersen’s “Zip Line Tow Rope”

My eye was immediately drawn to the meeting of the these two planes–a convergence of the rushing rays of color on the left with the loop-like, wonky forms on the right, calling to mind the psychedelia of painters likeKarl Benjamin and Gene Davis. The forms of the left-hand wall begin, or maybe end, with two tapered lines extending to the bottom corner of the gallery. The pair of stripes–acting as a leg, crutch, or tail–rises, turns sharply, and diverges.

The maroon stripe, not quite level, divides what appears to be two nesting windows, or maybe boxes, and imperfectly imitates a horizon. This weighted line, anchoring the composition, extends just past the corner and rises slightly, met by the acute angle of another box-like form–an uneasy, unbalanced conversation from one wall to another.

Here, I saw a play between heaviness and weightlessness, much like the title of the show. The small, narrow, fleeting lines dart about the composition, as if imitating the motion of a zipline; they are answered by the heavy pull of the respective “tow ropes,” which show in the thick, triangular forms running vertically in the composition.

Recalling and reimagining the ’60s

The view from the corner

The view from the corner.

The color choices are bright and artificial–reminiscent, Petersen says, of the consumer culture of his childhood in the ‘60s. Baby pink, sage green, and Creamsicle orange call to mind the color choices of mid-1960s Deco, while the steely grays and blues recall the imaginative visions of the future from that era–pop-culture milestones such as The Jetsons and Star Trek. The work of abstract painters of this time, such as Frederick Hammersley and Lorser Feitelson, embraces similar color choices.

With these connotations in mind, Petersen references a dynamic period in the 20th century. zip line tow ropeseems to stem not only from this artistic heritage of the past, but also addresses its conception of the future–a utopian domain of perfection and order that Petersen clearly forsakes. Instead, he uses its aesthetics in the mode of misalignment, insecurity, and tremulousness. His work, unsettled, imbalanced, yet painted in sugar-coated colors, calls to mind the visual consciousness of the 1960s, but redefines and questions its conceptions of the future.

zip line tow rope is on view at Tiger Strikes Asteroid, now until August 31, 2014. Gallery hours are Saturday and Sunday from 2 pm until 6 pm, and by appointment.

Gary Petersen is first and foremost a painter, but it seems that he’s got a knack for installation too, as evidenced by his solo show, “zip line tow rope,” at Tiger Strikes Asteroid. The New York-based artist has wound up in Philly for the exhibit curated by Alexis Granwell, which includes his largest site-specific mural work to date – one that emerges from geometry and pop art and lands squarely in a spatial world of incandescent lighting and voracious art observers.

Gary Petersen, "zip line tow rope."

Gary Petersen, “zip line tow rope.”

The artist seems ever conscious of the viewing space, facing off his three small paintings against their much larger cousin applied directly to the surface of the opposite wall. He creates an immediate dichotomy between the object and the experience, despite the tinier works’ uncanny likeness to the lines bending along the room’s corner and its adjoining planes. This division ultimately results in what could be considered two shows, together reinforcing contemporary art’s tendency to reside in very contrary arenas.

At first, it appears as if the faded yellow hue of the installation that shares the show’s name is more likely due to the throw of the lights and not the color of the paint chosen by Petersen… but that analysis would be incorrect. It almost comes as a shock to discover that the artist would select such a muted and somewhat sickly color to dominate his largest piece, but the neutral color at least provides an apt, non-white foundation on which to build up the shapes that truly constitute his artwork. What the maize wash also provides is a faint yellowish glow that pervades the entire show, making it practically impossible to avoid. This byproduct of the pigment distinctly separates the entire experience from the realm of smaller works available for purchase.

Gary Petersen, "EA-5."

Gary Petersen, “EA-5.”

Of all the boxes and hard edges in “zip line tow rope,” one would be very hard pressed to find many actual right angles. Even when the lines appear to reach ninety degrees, either the inner or outer part of the connection widens or shrinks so as to avoid any perfect rectangles. That, paired with the rotating cast of colors, makes an exhibit so dependent on rigidity and straight lines actually quite warped and full of movement.

Gary Petersen, "EA-6."

Gary Petersen, “EA-6.”

In Petersen’s smaller paintings, he explores a bit further in the direction of rounded parts and finer detail, probably in part because of their scale and permanence, but also because he is relatively new to the mural and installation game (this is one of only a few such pieces he has ever constructed). There are slight gradients behind some of the overlapping parts, and a great deal of depth too. For such a simple vocabulary of shapes, Petersen manages to piece together some fairly complex compositions that are sharp, exact and even obsessive.

Through these filaments, Gary Petersen weaves webs, tightens cords and builds structures in 2D with the eye of a designer, but still manages to bubble over into concepts steeped in the event of entering a space made for art. While much of what Petersen provides is a pretty image, he also makes us extremely self-conscious with that subtle burst of yellow enlightenment. Tiger Strikes Asteroid will be showing “zip line tow rope” through August 31.

Tiger Strikes Asteroid is located at 319 N. 11th St., on the second floor, Philadelphia;;

What to do this first friday

+ Tiger Strikes Asteroid

Stop by Tiger Strikes Asteroid to see geometric mastermind Gary Petersen’s colorful, massive, site-specific painting. Along with the titular 14- by 19-foot piece, his exhibit “zip line tow rope” also features a few works on paper.

“I am interested in geometric abstraction that reflects our vulnerability and uncertainty in the world,” Petersen says in his artist’s statement. “I’ve always been interested in the line, how it contains, defines and suggests. Color is very important in my work. It allows the somewhat familiar forms to become personal and subtly eccentric.”

Through Aug. 31, reception Fri., Aug. 1, 6 p.m., 319A N. 11th St., 484-469-0319,

Published 7/31/2014 by Holly Otterbein in Philadelphia City Paper

Galleries: A fine show of

'something else'

Gary Petersen's "zip line tow rope," colorful rectangles and parallelograms on two walls, is at Tiger Strikes Asteroid.
Gary Petersen’s “zip line tow rope,” colorful rectangles and parallelograms on two walls, is at Tiger Strikes Asteroid.
Posted: August 10, 2014

As befits its title, “Interchange,” the 19-artist show at Moore College of Art & Design’s Goldie Paley Gallery, was organized not only by the Galleries at Moore but in tandem with two local artist collectives, Grizzly Grizzly and Practice. Even more in keeping with its appellation is the work it presents, much of which stems from exchanges among artists and most of which aims for a relationship with the viewer.

But, as these diverse videos, sculptures, installations, photographs, and paintings introduce themselves to you - including several works made by groups of like-minded people who consider themselves communities - you’ll inevitably wonder if you’re receptive to them as art, entertainment, or something else that really has very little to do with art as we know it. I sometimes find the last more appealing than art with a capital A.

Case in point: The least artlike work in the show drew me in the minute my eyes lighted on a minor part of it, a bottle with a label saying that it contained water with E. coli bacteria in it. But more integral to the whole work (which has about as much visual appeal as a display at a water purifier convention) is the ceramic water filter that removes E. coli and other microbiological contaminants from polluted water.

This simple unglazed ceramic container, coated with a thin wash of colloidal silver, is the brainchild of Potters for Peace, a nonprofit that began working with Nicaraguan potters in the 1980s to provide safe drinking water and has since helped facilitate setting up filter-making pottery workshops around the world. I love this do-gooder project, but I wouldn’t begin to think of it as art, even as an installation (and I’ve seen plenty of installations using bottles, from David Hammons to Tony Feher).

Hive76, a Philadelphia-based community of makers and crafters, is represented by Connect Four, a giant black panel with a grid of white dots that light up in color when you step on a control panel on the floor in front of it. It’s entertaining in its intentionally DIY way, and everyone who sees this work will play with it. The same goes for the obviously well-used game-board installation by Dice Crew, a Kensington community of musicians, programmers, artists, and friends. These two separate efforts embody community spirit, but they do not take you to another place. They’re just what they are.

A few works here are immediately identifiable as contemporary art, but in an unpretentious way.

There are the documentary photographs and a video of e-mail exchanges from Guerrilla Public Service, a well-known public artwork - perhaps intervention would be more correct - by Richard Ankrom. The L.A.-based artist clandestinely and seamlessly added information to improve a directional sign on the 110 freeway in 2001, and the documentation here exerts a mature authority in this show of mostly young artists but is also perfect for this context.

Matthew Fisher’s small, colorful geometric paintings are nicely paired with intimate pencil drawings of those works in Fisher’s Brooklyn studio by Maria Calandra. Lilly McElroy’s 51-second video, “A Woman Runs Through a Pastoral,” in which a woman suddenly dashes into a landscape that turns out to be a huge painting or photo on paper, tears through it, stumbles, then continues running through a real landscape, is unapologetically slapstick and fresh.

"Interchange" strikes just the right mood for a summer group show - all play and no work.

The Galleries at Moore, 20th St. and the Parkway, 11 a.m. to 5 p.m. Mondays through Thursdays, 11 a.m. to 8 p.m. Fridays, 11 a.m. to 5 p.m. Saturdays. 215-965-4027 or Through Aug. 23.

Big, bigger

And sometimes summer means pulling out all the stops. Two solo shows on the second floor of 319 N. 11th St. are prime examples.

Maggie Casey’s three sculptures fill the Napoleon gallery’s small space like three very different people who might be related. Her methods and colors bring painter Gerhard Richter and sculptor Franz West slightly to mind, but her images say New England to me.

Breaker, the centerpiece of the show, mounted on a pedestal, is a large hollow shape reminiscent of a whale, made by pouring puddles of colored plaster into a tinfoil mold every day for five months. The multicolored amalgam in a wall-mounted wire basket in Breadbasket could have been fashioned from Play-Doh but is actually an accumulation of tinted pancake batter. Untitled, which drapes on the wall like a fishnet, is made from plastic sheeting, rubber cord, and cotton cord, and suggests something found floating in the ocean, its original purpose washed away.

Next door, at Tiger Strikes Asteroid, Gary Petersen has painted two of that gallery’s walls with an exhilarating composition of variously colored rectangles and parallelograms on a soft, butter-yellow background that gives the entire gallery a golden hue. The painting, like the show, is called zip line tow rope. Organized by artist and Moore professor Alexis Granwell, it is one of this collective’s most exciting undertakings to date.

Napoleon, 319 N. 11th St., 2nd floor, 2 to 6 p.m. Saturdays and Sundays and by appointment. Through Aug. 29.

Tiger Strikes Asteroid,

319 N. 11th St., 2 to 6 p.m. Saturdays and Sundays and by appointment. 484-469-0319 or www.philadelphia. tigerstrikes Through Aug. 31.

"Galleries" by Edith Newhall and "Art" by Thomas Hine appear in alternating weeks.



July 11 - July 26, 2014
Reception Friday July 11, 6-10pm

Dearest Tiger Friends,

You are cordially invited to attend the joyous and auspicious event of Tiger Strikes Asteroid’s five year anniversary!!! We will be featuring small works from Tiger Strikes Asteroid members, past and present and from our sister space, TSA / New York. Due to the July 4th Holiday, the opening celebration/reception will be on Friday, July 11th from 6-10pm.



How can you thank someone for taking you from crayons to perfume? 

What can I give you in return?

If you wanted the sky
I would write across the sky in letters
That would soar a thousand feet high
To Tiger, with love

All works will be available for sale for $200.00 each!

Proceeds from sales will go toward operations and future gallery events.

We look forward to celebrating our 5th Anniversary with you!

Much Love,

Tiger Strikes Asteroid, Philadelphia 

Participating Artists:
Jaime Alvarez
Todd Baldwin
Adam Blumberg
Vincent Como
Keith Crowley
Will DiBello
Terri Saulin Frock
Tim Gierschick
Rachel Gorchov
Yin Ho
Ezra Masch
Ryan Mccartney
Alex Paik
Nathan Pankratz
Matt Phillips
Joanna Platt
Caroline Santa
Anne Schaefer
Matthew Sepielli
Douglas Witmer


July 11 - July 26, 2014
Reception Friday July 11, 6-10pm

To Tiger With Love
July 11 - July 26, 2014 
Opening reception: Friday, July 11, 2014, 6pm -10pm

Hours:  Saturday and Sunday, 2pm-6pm and by appointment

How do we love TSA? Let us count the ways. And no, we are not talking about the Transportation Security Administration, although the acronym likeness has always been as dissonant as it has been entertaining. July marks the five-year anniversary of Philadelphia- (and now also Brooklyn) based artist-run exhibition space Tiger Strikes Asteroid, and with it, their show “To Tiger, With Love” which features some 20 current and former members, as well as a snazzy poster featuring Sidney Poitier. Each has a small work on display, most for sale at $200, the proceeds of which go directly to the space for future operations and events.

Although the dimensions of the artworks are relatively consistent throughout the show, the smattering of styles and insights proves what TSA has time and time again; they provide for the thoughtful production and exhibition of art from a pool of talented makers.

Jaime Alvarez, "Tee-Grey."

Jaime Alvarez, “Tee-Grey.”

Jamie Alvarez, for instance, takes the gallery’s powerful yet abstract name to somewhat literal ends with “Tee-Grey.” A photo of a yellow toy tiger demands the focus in this piece, especially because its back half is coated in a shimmering layer of gold. Its ferocity paired with a futurist sheen makes for a menacing foe, if not for the fact that it is clearly a hunk of molded plastic. It strides across a bed of rock as stars dot the dark background, ready to pounce from its drifting, interplanetary home. Think an asteroid impact isn’t bad enough? Well this one is also infested with robotic carnivores too.

Rachael Gorchov, "To TSA with love: Oregon Ave. to Chinatown, back to NYC."

Rachael Gorchov, “To TSA With Love: Oregon Ave. to Chinatown, Back to NYC.”

Paint and photo montage are Rachael Gorchov’s materials of choice for “To TSA With Love: Oregon Ave. to Chinatown, Back to NYC.” Clouds mingle with thick brushstrokes of gouache, and the decaying industrial train remnants of Chinatown meet South Philly and New York in a mess of metal, urban plant life and a glowing glob of sunny yellow.

Terri Saulin Frock, "Thin Cities."

Terri Saulin Frock, “Thin Cities.”

The three-dimensional, porcelain scaffolds of Terri Saulin Frock do well to counter both the real-life mashups of Gorchov with imaginary places, and the mostly two-dimensional images in the show with a busy mess of beams, bars and other building materials. The flat sheet of glazed ceramic that these structures hang from looks almost like a sheet of paper in its cut, referencing many of the others which are actually composed on paper. Whether intentional trickery or not, the depth and texture of this piece make it stand out while its backing connects it to many of the other works that surround it.

Per TSA’s typical slant, there are also a number of additional abstractions, geometric studies and minimal images in the mix, as well as a few Philly-centric pictures, and even a handwritten love note of sorts by Todd Baldwin. It is clear that the artists that help Tiger Strikes Asteroid continue to sail through time and space feel quite fondly about their creative locale. It is encouraging to see such collective involvement and passion for an institution, and one can only hope that their inspiration is just as contagious.

These many love-letter-artworks will be featured at TSA through July 26.

Tiger Strikes Asteroid is located at 319 N. 11th St., on the 2nd floor, Philadelphia;;

Andrea Gaydos Landau: Never Wanted Nothing

Andrea Gaydos Landau: Never Wanted Nothing
June 6 – June 29, 2014
Opening Reception: Friday, June 6, 2014, 6-10pm


Never Wanted Nothing brings together new works made from fragments, culminating in processes of hand-cut wall drawings and collage by Andrea Gaydos Landau. Meditating on the idea of the double negative, the collages are composed of discarded shells of negative space and shadows. Here emerges a rejected space where the subject turns into an emptiness. These are images or emotive voids that displace intimacy in exchange for objective contemplation.

Other works in the gallery sit suspended between positive and negative, finite and infinite. They are arrangements of fragility made up of marks of logic, emotion and longing. Whether torn apart or carefully cut, these compositions reference ephemeral actions - like a dissolving, irrevocable loss. All of which attempt to grasp an understanding of vast uncertainty.

Landau’s work embodies both architectonic and organic, decorative and chaotic qualities. She sees the potential of ornament and pattern as conceptual and structural. Landau looks to the natural world for inspiration and strategies to build her work. Through her work she questions ordering and impermanence, which in turn, examine the kinship between both presence and absence. Landau represents these ideas in an intuitive manner, filtered by geometry, the history of the decorative arts, and the natural sciences.

Landau’s work has been exhibited internationally at Korea National University of the Arts in Seoul, South Korea and nationally at Daimler Financial Corporate Headquarters in MI, and Rowan University in NJ. Her work also appeared in “Hothouse”, an exhibition representing the field of Fiber from the past 37 years at Cranbrook Art Museum in Michigan. Locally, Landau has shown at the Philadelphia Art Alliance, Goldie Paley Gallery, The Fabric Workshop and Museum, Rosenwald-Wolf Gallery, Cheltenham Center for the Arts, Center for Emerging Visual Artist, and was selected for Philagrafika’s Invitational Portfolio.

Currently, Andrea Gaydos Landau works at The Fabric Workshop and Museum and at Moore College of Art and Design in Philadelphia , PA. She is a shiny new member of Tiger Strikes Asteroid gallery.