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.
© images on above poster: Mike Darcy (Hand #1), & Lesley Walker-Fitzpatrick (Anaya's Promise).
2015 Talent Exhibition at Spectrum Gallery opens on Friday (February 6th)
A selection of 32 photographic and photo-based works from artists living in the USA and Canada, ranging from images of the human body to studies in the natural and human-made landscapes.
Opening: First Friday of the Month.
Friday February 6th, 6:00 – 9:30 p.m.
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Thursday January 22, 2015 - 7-8:30 pp.m.
PRESENTATION: As a complement to the current show, Sergiy Lebedynskyy's "Arabat Spit / Healing Waters," Spectrum Gallery proposes an overview of panoramic photography: historical background, techniques (film and digital), esthetics, all illustrated by numerous examples.
Speakers: Bruno Chalifour & Jeno Horvath.
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First exhibition of the 2015 Year at Spectrum Gallery ( 100 College Avenue, Rochester NY14607) :
“Arabat Spit / Healing Muds” by Sergiy Lebedynskyy from the Shilo Group (Kharkiv, Ukraine)
Description:Born in a republic of the former USSR, now independent Ukraine, Sergiy Lebedynskyy is himself a young Ukrainian photographer, a founding member of the Shilo photo group (2010). This group has developed photographic projects in the tradition of the Kharkiv School of Photography (with such world-renowned photographers as Boris Mikhailov) “known for its bold and critical approach of the social and political processes in the ex-USSR.”
His latest series Euromaidan (2014), documented the protests, on Nezalezhnosti square (maidan Nezalezhnosti) in Kiev, of hundreds of thousands of Ukrainians against Putin’s policy toward Ukraine. In this project, Arabat Spit / Healing Muds, Lebedynskyy uses a traditional basic spa as a metaphor for the current state of his country, “stuck between a certain nostalgia for the previous system and looking with apprehension toward an uncertain future.” In a present that has seen the emergence of deep financial discrepancies between people, some find refuge in old myths and recipes. They resort to the timeless usage of mineral mud baths to heal their physical and possibly psychological ailments. The Arabat Spit spa “is a place of interest of the Ukrainian and Russian lower-middle classes. Abandoned after the collapse of the Soviet Union, the site and the use of its mineral water and muds have slowly been revived for the past twenty years. The thermal spring and its muds are considered to have healing powers, and visitors come with their own sets of expectations from them.”
In order to reflect the nostalgic regression of some of the Ukrainian population, its mixed feelings of helplessness and hope about an “uncertain present,” its disillusions with a government that seems determined on staying aligned with a new Russia that has left behind the principles of socialism but is still ruled by oligarchs, the photographer used a Soviet-made panoramic camera (“Horizon”), and outdated Soviet film and paper. As a result each print becomes unique because uniquely tainted by time, in the same way as their own experiences have agents in the definitions of each Ukrainian citizen. As the photographers wrote it: “Photographs I made visually fell from the context of the times; they left me with the feeling of something already seen in the past. They matched my nostalgic feelings about my homeland, stuck between the Soviet past and an uncertain present. Later I realized that by means of photography I was looking for self-identification.”
Sergiy Lebedeynskyy holds a Ph. D. in engineering. He now works as a free-lance photographer. His photographs were included in the 2012 FotoFest biennial (Houston TX). His book, Euromaidan (2014), was published by Riot Books (limited edition of 250).
Dates: December 2 - 31, 2015.Opening (First Friday): Friday January 2, 6 - 9 p.m.
An Evening on the PANORAMIC FORMAT at the gallery: history, technique, esthetics. Thursday January 22nd,7:00 - 8:30 p.m.
Address: Spectrum Gallery 100 College Avenue, Rochester NY14607 (open Tu-Fr: 9 am - 6 pm, Sat: 10 am - 2 pm.)Contact: 585-415 7828 / firstname.lastname@example.org
Bruno Chalifour, Photographer, Gallery DirectorSpectrum Gallery100 College AvenueRochester NY 14607USA
+1 (585) 461 4447Cell: +1 (585) 415 7828
Spectrum Gallery 2015 Talent Exhibition
International Call for Entry
Deadline for submissions: December 20th 2014.
Notification of selection: January 10th 2015.
Group exhibition: February 2015 [opening on the first Friday of the month]
Solo exhibition: July 2015 [opening on the first Friday of the month]
Open theme: Spectrum Gallery’s vocation is to promote talented artists and to expose its audience to a large variety of regional, national, and international excellence in photography. Anyone using any type of photographic process, from daguerreotypes to archival digital prints, is welcome to submit.
Deadline and format: Before December 20, 2015,
> submit a maximum of 3 images (digital files) for a registering fee of $ 35 (whether you submit 1 or 3 images):
-in jpg format
minimum dimensions have to be 1800 pixels by 1800 pixels
or 6”x6” at a resolution of 300 pixels per inch (ppi))
at a compression of 8 or 9 (high quality)
>each image file shall be named according to the following format*:
Lastname_(Firstinitial)_(number[1 to 3])_Title[2 words].jpg
* NO space and NO symbol please, only letters, numbers, and underscore.
> pay a registering fee of $ 35
paid in cash or check, or credit card at the gallery,
paid by check in the mail
paid by credit card at the gallery, over the phone, or on-line
(on-line payment: http://lumierephoto.com/collections/gallery-events/products/gallery )
Extra prints can be added at an additional fee of $ 15 per added print.
Submissions (images and entry form) and payment:
Images and entry form can be submitted:
- on a CD*, delivered or mailed to:
Spectrum Gallery at Lumière Photo
2015 Talent Exhibition
100 college avenue
Rochester, NY 146107 (USA)
[*CDs/DVDs as well as image files shall be labeled with the name of the author consistent with the entry form. Unlabeled submissions shall not be considered.]
- via our uploading page at:
Entry forms [see below] can also be sent to the above address or to the following email address: email@example.com
Submissions/Uploads shall only be considered after payment of the registering fee either by check (to Lumière Photo) or through our secure on-line service at:
http://lumierephoto.com/pages/file-upload [mention “2015 Talent Exhibition”]
William Edwards, Founder of Spectrum Gallery and Lumiere Photo, current owner and director of Lumière Photo, Rochester NY. Completed his undergraduate studies in photography at Rochester Institute of Technology and graduate studies at Visual Studies Workshop studying with both Nathan Lyons and Beaumont Newhall.
Bruno Chalifour, MFA from SUNY Buffalo, photographer and educator, former editor of Afterimage magazine, current director of Spectrum Gallery.
Notification of Acceptance
On January 10th, 2015, by email.
Work submitted for exhibition shall:
>be related to a photographic process*.
>be of personal design and execution*.
>be of a minimum size of 8”x8” (excluding margins, matt and frame).
>be professionally mounted and framed*.
[Mounting and framing can be done at Lumière Photo Framing Shop;
contact Pat Cain at firstname.lastname@example.org or call +1 (585) 461 447 or 888 263 1651.]
>be delivered at Spectrum Gallery before Wednesday January 21st, 2015.
>not be withdrawn before the end of the exhibition in which it is featured.
*in case of ambiguity, the jurors shall remain the decision-makers. Their decisions are final.
Shipping costs: Artists are responsible for all shipping costs (to and from the
gallery) including insurance. Work must be shipped in a reusable container with a pre-paid return label from shipping company. The Gallery will not be responsible for any damage that occurs during shipping.
As for all its exhibitions, Spectrum gallery will retain 50% of sale price (before tax), calcultae your prices accordingly, thank you.
Spectrum Gallery hours:
100 college avenue, Rochester NY 14607 (585) 461 4447 / c. (585) 415 7828
Tuesday – Friday: 9 a.m. - 6 p.m.
Saturday: 10 a.m. - 2 p.m.
Exhibitions at Spectrum Gallery
Paintings & Prints
November 3-29, 2014 / opening: Friday November 7th, 6 - 9:00 p.m.,
Conversation with Artist & book-signing: Thursday, November 13th, 7 - 8:30 p.m.
Spectrum Gallery,100 college avenue, Rochester NY 14607
Follow us on Facebook; website: www.spectrumgalleryroc.com
Gallery open: Tu-Fr: 9 a.m. to 6 p.m.
Saturday: 10 a.m. to 2 p.m.
Alan Singer: “Art & Mathematics”
“My goal is to bring new forms to visual arts, and to explore their possibilities. But, to be clear, I am not a mathematician, I am a visual artist. I employ digital and mathematical tools that make the work both interesting and challenging. I see mathematics and art as being extensions of each other. […] Mathematics can be used to measure and describe reality. When combined with vision and an esthetic sensibility it become be a tool to make art.”
Curated by Bruno Chalifour
+1 (585) 461 4447
Cell: +1 (585) 415 7828
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