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
Current exhibition at Spectrum Gallery (100 college avenue, Rochester NY):
"Made in Rochester" (August 1-30, 2014): Carl Chiarenza, Nathan Lyons (new color work and book signing on August 28, 6-8 pm), William Edwards, Pat Cain, and Bruno Chalifour.
Closing reception and book signing (Nathan Lyons's new book): Thursday August 28, 2014, 6-8 p.m.
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