Welcome to Spectrum Gallery
Spectrum Gallery is located within Lumiere Photo at 100 College Avenue in the heart of NOTA (the Neighborhood Of The Arts), Rochester NY.
Our hours are 9:00 AM to 6:00 PM, Tuesday through Friday... 10:00 AM to 2:00 PM, Saturdays.
Spectrum Gallery Store
Located within Lumiere Photo, next to the Spectrum Gallery is Spectrum Gallery Store. It features a collection of artwork from local artists. Paintings, photographs, wooden bowls, pottery, handcrafted pens and more... It is the perfect place to do your gift shopping or to find a wonderful addition for your home. More information can be found by clicking on the topics in the column to the right.
Exhibitions at Spectrum Gallery
October 1-31, 2014:
The New York Artist Guild: Recent Work.
Opening: Friday October 3, 6-9 p.m. (First Friday)
The New York Artist Guild was founded in 2006 by four artists in various media: Sabra Richards, Wendy Menzie, Howard Koft,, and Bruno Chalifour. Soon two other artists, Alice Gold and g.a.Sheller, would join its ranks.
Beyond exhibiting together NYAG members meet on a monthly basis to discuss the progress of their respective works, art in general, and exchange ideas and feed-back. The group is based on the exchange of experiences and ideas. Part of NYAG’s statement is dedicated to actions regarding the arts and involving the local community. So far NYAG has organized a cycle of symposia (respectively held at the GEH, the MAG, NTID, ROCO, and WXXI), and workshops at River’s Run. It has also been involved in various consulting interventions.
Spectrum Gallery (100 college avenue, Rochester NY) is open Tuesday to Friday from 9 a.m. to 6 p.m., and Saturday from 10 a.m. to 2 p.m.
Between & Beyond
photographs by Steve Malloy-Desormeaux
September 3-27, 2014.
Artist's presentation: Friday September 19th, 6:30-8:00 p.m.
BETWEEN & BEYOND, two series by Steve Malloy-Desormeaux:
- Glimpsing Edgemere
On Glimpsing Edgemere:
I have known Steve Malloy-Desormeaux for several years now. The first time I met him he was attending one of my workshops at Community Darkroom, "From Snapshot To Series." He was then a dedicated student whose subtlety and precision both about content and form delighted me. He would repeat the workshop a few times and eventually take another one on Landscape Photography. One of the outings of the Landscape workshop took us on the shore of Lake Ontario in Irondequoit NY. While most students were focusing on the beach, the pier or the bay, Steve walked off and started to look north while strolling along Culver Road, facing the lake, and photograph the space between houses. It was a superb idea and a revelation to me. A re-invention of the Paris "flâneur" made famous by the poet, Baudelaire, and of course the photographer, Eugène Atget. Steve was looking at his environment with both curiosity, wonder, and empathy. The photographs themselves were telling of people's tastes and habits, sometimes tinted with a humorous overtone. I encouraged him to expand and a few years later he came to me with a book he had made on a similar location, further west, Edgemere Drive, a long stretch of land and road separating Braddock Bay from Lake Ontario.
The way I decided to hang this show like most of the photography exhibitions I have ever curated was to speak about photography, the medium, its history and practice, and, of course about Steve's photography.
Because of the configuration of a gallery, four perpendicular walls in our case, I try to organize each wall as a separate entity that communicates with the three other ones. Each wall of "Glimpsing Edgemere" starts with a photograph showing a flag, a reference to Robert Frank's 1959 book, "The Americans," of course, but also a visual note (saturated red and blue, next to each other draw the viewer's eye) and introduction. Then each wall evolves following a developing theme, the growing presence of trees, the boat-life associated with the vicinity of the lake. If the starting concept may sound simple, the images themselves are deceiving in their apparent simplicity. They match the concept but expand it beyond documentation to contemplation, anthropology, esthetics, humor, sophisticated eye and mind (Steve's knowledge of the history of photography and other photographers shows), and to simply put it, fine art photography.
In Steve's own words:
"My wife, Eileen, and I occasionally talk about living near the water, so we decided to explore a lakefront neighborhood along Lake Ontario, near Long Pond, to see what living there might be like. This area has an interesting history; in the early 1900s a trolley passed through there, carrying vacationers from Charlotte to the resort hotels at Manitou Beach. This stretch of beach, called Crescent Beach, had a few hotels, summer cottages, and fishing shacks. In the 1970s, Edgemere Drive was built, improving access to the area. As a result, cottages were converted to year-round homes and many new homes were built. Today, it is a diverse neighborhood – no two houses are alike – where each home seems to reflect the personality of the owners and their joy and pride of living along the lake. On that sunny spring morning we walked along Old Edgemere Drive, catching glimpses of the lake between homes and imagining the lifestyles of those living there."
Glimpsing Edgemere, photographed May 2009 and May-June 2001.
20 archival digital prints on Ilford Gold Fiber Silk paper.
Price: $800 / print (unframed)
On Farmscapes by Steve Malloy-Desormeaux
It is difficult to look at the eleven prints displayed at the Spectrum Gallery under the title Farmscapes, and not think of Franco Fontana’s Italian landscapes of the late 1970s and 1980s. Fields of color trigger memories of Color Field painting as defined by Howard Greenberg regarding the paintings by such Abstract Expressionists as Mark Rothko, Barnett Newman, or Clifford Still. In other words Steve’s work definitely evokes the second half of the 20th century and the way abstraction and color were used.
Who’s afraid of color? Not Steve Malloy-Desormeaux, obviously. Rather than express his philosophy of life through strong, saturated colors and abstraction, the photographer here again choses subtlety, the fine details of texture, and the “real” world as rendered through the photographic process. No darkroom manipulation here, no Photoshop abuse, just a straightforward use of what was there and then. The images do not overtly pretend to emulate another medium in another age though, they exist as photographs and claim their identity: a clear understanding of light, a good use of the medium, a mastery of the printing process.
These Upstate New York landscapes also speak of modern agriculture, the control of the land, the mathematical definition of it: lines, geometric areas, perfectly delineated surfaces. However nature still expresses itself through the colors and textures of seasons, through their light too. Mesmerizing landscape generating esthetic pleasure and awe. Who said a photograph could not reach for the sublime?
 Between and Beyond: Glancing Edgemere and Farmscapes is the current exhibition of photographs by Steve Malloy-Desormeaux at the Spectrum Gallery (100 college avenue, Rochester NY. Sept. 3 – 30). Opening: Friday September 5, 6- 9 p.m. Artist’s Talk on Friday Sept. 19, 6:30-8:00 p.m.
 Franco Fontana is an Italian photographer born in Modena, Emilia_romagna in 1933, now living in Tuscany. His first book Skyline was published by Contrejour in Paris. He has been exhibited worldwide, famous for his abstract, colorful landscapes.
From the artist:
"Growing up in a semi-rural region of Pennsylvania, I spent many summer days riding my bike past fields and pastures, exploring mysterious woods, occasionally picking asparagus and pumpkins from an abandoned field. We didn't live on a farm, but we were surrounded by working pastures and big farm-houses. The farmland south of Rochester, where these photos were taken, is similar to where I grew up – rolling hills, work-a-day farms, vast bright skies. A day spent driving through the local countryside, photographing the cultivated fields, is a day of serenity, wonder, and a little nostalgia."
Farmscapes, photographed from 2011 through 2014, are 11x16.5 images printed on 13x19 paper.
Unframed print: $ 800
Made in Rochester
Pat Cain, Bruno Chalifour, Carl Chiarenza, William Edwards, & Nathan Lyons.
August 1 - August 30, 2014.
Thursday August 28th, 6 p.m. to 8 p.m.
Made in Rochester
Since the creation of the Eastman Dry Plate Company in 1881, Rochester has been associated with photography. Founded in 1970 by William Edwards, himself a graduate of Visual Studies Workshop, the Spectrum gallery has specialized in fine art photography, and Bill Edwards has surrounded himself with individuals sharing his passion for the medium.
“Made in Rochester” celebrates Rochester’s photographic past through the art of three members of Spectrum and its umbrella company, Lumière, (Pat Cain, Bruno Chalifour, and Bill Edwards), and long-time friends and featured artists, Carl Chiarenza and Nathan Lyons. The exhibition displays 32 prints ranging in sizes from the 7” X 10 .5” new color photographs by Nathan Lyons to a majestuous abstract triptych by Carl Chiarenza, several feet long, and covering a whole wall. Chiarenza and Chalifour combine their images in diptychs and triptychs, the former to create, in an assembled single image, new universes bathed by “obscure clarity,” “landscapes of the mind,” the latter to play with the slight disjunction between each image thus inviting the viewer to metaphors and narrations using time and space as a channel. Edwards with his acute sense of light and composition shares photographic epiphanies revealing how ambiguous the world can become seen through the eye and process of the camera. Pat Cain combines a seemingly simplistic technical approach to image capture (a Holga camera in most instances) with the pedestrian quality of photography in a succession of black and white and color images. Both Chiarenza and he still use a combination of analog (film) and digital technologies. As for Nathan Lyons, an expert “serial” editor and sequencer of photographs, his long-time fascination with how words, signs, and symbols collide with the environment we chose for them has extended itself from black and white to color, a rare treat.
Exhibition curated by William Edwards.
photographs by Tate SHAW
June 3 - August 2, 2014.
The Ground by Tate Shaw
Tate Shaw’s The Ground project addresses landscapes where the footprints of the energy industry are highly visible: sites such as the ones used in Iceland for the production of geothermal energy, abandoned sulfur mines and hydro-fracking sites in Tioga County, Pennsylvania, and finally the site of an ongoing, underground fire in abandoned coalmine tunnels below what was the town of Centralia, Pennsylvania.
Images for The Ground were photographed at the aforementioned sites from 2010 to 2012. These digital images were printed on a watercolor / printmaking paper. At the final stage of production, water was applied to the prints in order to dilute, sometimes wash out areas of the ink from the paper. Water had to be as much a crucial protagonist of the printing process as it had been in the photographed landscapes–even in the abandoned mine tunnels where millions of gallons of water flooded the tunnels in Centralia but were not able to extinguish the coal mine fire.
An eponymous artist’s book accompanies the project. Its essay includes a broader discussion of “the ground” both literally and metaphorically, the artist founding himself in a position where he too exploits the “ground” for his own purposes.
The Ground is presented at Spectrum gallery as an exhibition of 22 digital archival inkjet prints made from the original water-painted photographic prints. A looping video describes the slow process of ink migrating from the print into the water where it lies. A shelf displays three copies of The Ground, a 12”x8” book of 124 pages with 2 gatefolds, published by Preacher’s Biscuit Books (2013), Rochester, NY.
Tate Shaw (www.tateshaw.com) is an artist and writer living in Rochester, NY. He is the Director of Visual Studies Workshop and an Assistant Professor at The College at Brockport, SUNY. Shaw’s work is in many collections for artists' books internationally including the library of the Tate Modern, Yale University Special Collections, The School of the Art Institute of Chicago, and the library of the Museum of Fine Arts, Houston. His essays and reviews have appeared in Aperture’s The Photobook Review, JAB: the Journal of Artists’ Books, and Afterimage, and other publications.
- 11"x 8" : $ 400
- 17"x 12.5": $ 700
- 30"x 22": $ 1,000
photographs by Stephan GERSH.
"an explorer into the seen and the unseen of nature"
May 1-31, 2014
"Photographing during my lifetime has evolved into a simpler and simpler process. When I am working in a particular location my first task is to put my camera on my back and start walkingand looking. I have no ideas in mind. no pre-conceptions, no concerns regarding the making of a "good" image, no pressure and no audience. A combination of internal quietness, availability, and the willingness to receive what is presented has become the process. [...] Sometimes I understand the why of the moment, [of the photograph], and at times it only becomes clear after I have lived with the photograph for some time."
As a young man Stephan Gersh assisted Ansel Adams then Minor White in the darkroom. When Minor White was approach by MIT to start a graduate program in Cambridge, MA, Stephan followed him and taught with him for a while. With such an experience we cannot but expect master prints and a dedication to large format cameras, zone system and silver halide materials from him. Interestingly, probably in the same way as Adams would have done it given his curiosity for technology and any new process improving the medium he used, 8 years ago Gersh took an interest in digital photography, from capture to print.
The resulting show displayed at Spectrum gallery until May 31, 2014, is composed of 30 archival inkjet prints ("giclée" prints for those ignoring the difference between an Iris printer and an Epson, HP, or Canon printer). The exhibition spans almost 40 years of practice from a 1975 scanned negative exposed in Utah to photographs recently taken in Africa with a digital SLR.
100 College Avenue
Rochester, Ny 14607