1. As of July, 2014, 3200K has gone temporarily dark.

    We are currently processing orders that have been placed. They will ship shortly.

    Please stay tuned for details.

  2. Drawing with the Sun and Sea, 56, 2013 by Jason Engelund

    Jason Engelund’s photograph Drawing with the Sun and Sea is a minimalist composition of yellows and deep purples that appears abstract at first glance. In the upper half of the picture, a dark spot is encircled by rings— an effect that can appear on the film’s surface during scanning. Light and dark borders at the top and bottom delineate the edges of the sheet of film. Thus, what we see is an inverse image rather than a positive one, and the dark spot is actually a light from which the photograph was exposed.

    Such formal devices, both intentional and accidental, allow the materials to perform and become the content of the piece. As in action painting, where gesture replaces imagery, here the marks made by the artist replace the representations we associate with photography. In the absence of imagery, only formal elements remain, which we can read as a code of its process: exposed by the bright light, the film was then scanned, allowing the rings to appear. The edges of the film show that it was not cropped or reversed into a positive.

    What we see in the end is the act of the picture being created. By emphasizing process over product, Engelund addresses the dilemma facing all photographers: how can one make art from what is traditionally a descriptive medium? By successfully shifting the artistic center, a work is defined through what we take to be its purpose and intent, gesturing toward performance’s role in photographic making.

    Jason Engelund holds a BFA from the California College of the Arts and an MFA from University of California Davis. A recipient of the 2012 Sustainable Arts Foundation Grant, Engelund’s work has been shown nationally and featured in numerous publications.

    more at www.jasonengelund.com

  3. The fourth printed issue of 3200K, The State of Things, is now available. It is printed and bound by hand, featuring work by

    • Aaron John Bourque
    • Christopher Boyne
    • Beth A. Gilbert
    • Ariel Kessler
    • Robin Myers
    • Michael Powers
    • Liz Shear
    • John Steck Jr.
    • Christian Tuempling
    • Whitney Wotkyns

    It can be ordered online here: http://www.3200k.bigcartel.com/product/the-state-of-things

  4. Absolution, 2012 by Bryan Martello 

    Bryan Martello produces unsettling encounters through the lens of his large format camera, isolating moments that would otherwise be mundane. He later stages the photographs again on the gallery wall as installations comprised of multiple images. United into singular artworks, the pictures reveal relationships and tensions that advance an implicit narrative. 

    A story of escape and entrapment is divulged through surreal moments when caves open up and pomegranates spill open, asking viewers to question their own connections towards these objects. Considered as both individual images and as groupings, they foreground the process of editing, selecting and presenting artworks. As such, Martello is engaging in a dialogue that goes deeper than the pictures first reveal: this discourse is about photographic relationships and the process of exposing images as more than just aesthetic objects.

    Bryan Martello is a current MFA candidate at the University of Texas, Austin and holds a BFA from Massachusetts College of Art and Design. His works have been exhibited throughout the northeast and are included in the Drawing Project at Carroll and Sons Gallery. 

  5. Pill Box Interior, Marker C, Bare Cove Park, Hingham, MA, 2013, by Aaron John Bourque

    Aaron John Bourque photographs two now-defunct New England military bases. Instead of their original purposes as manufacturing plants for munitions used in World War II, Korea and Vietnam, they are state and municipal parks: a use that obscures their darker past. Today, the parks function today as a means of forgetting rather than remembering, and Bourque’s pictures are an examination of this absent history. Their power derives from the photographic moments that reveal the hidden, evidenced in tire tracks, rotting wooden structures and peeling paint: these moments become punctums, entry points for viewers.

    And once we’re in we can see the invisibility of the past instead of the visible truth photography usually divulges. Subverting the indexicality inherent to the medium, these pictures become contemporary ghost photographs. We see the past just as nineteenth century viewers saw ghosts in their images. But now we know this isn’t just camera tricks like before: history is omnipresent, even when we try to hide it.

    Aaron John Bourque holds a BA in Modern European History and is an MFA candidate at the School of the Museum of Fine Arts, Boston and Tufts University. Combining his love of history and photographic processes, his practice examines photography as historic evidence and primary source documentation. 

  6. Untitled (Self in Mom’s Hands), 2010 by Ariel Kessler
    Pointing towards photography’s function as index and archive, Ariel Kessler explores image-making’s relationship to memories. Beginning with a collection of Kodachrome slides shot by her father, Kessler re-imagines and remakes what she herself cannot remember. The products of her process are silver prints that function as doubles, investigating a dialogue between originals and concurrent interpretations.

    This examination asks questions about aura: family photographs have long been heralded as containers for our memories, pressed between album pages that function to preserve them. Their context is fixed and their meaning dependent on location. The language is vernacular; straying too far from home makes conversation difficult, questions needing to be answered. Does the location of a picture matter? Does the double reinforce or shatter significance by multiplication? In a world full of images, maybe the reinterpretation gives weight to the original, helping us to look a little closer.
    Ariel Kessler has completed studies at the School of Visual Arts and holds a BFA from Massachusetts College of Art and Design. Her work has been exhibited throughout the US, including solo shows at the New Visions Studio and Gallery and the Multnomah Arts Center. She currently lives and works in Boston, MA.
    for more, please visit www.arielkessler.com
  7. Untitled, 2011 from Blueberry Hill by Christopher Boyne

    Blueberry Hill exposes private documents of experiences internal to its maker, bridging gaps between domestic albums and public archives. Formalities from amatuer photography, such as loosness of framing and slipping of focus, mix with those from the fine-art world. In its final installation, prints are combined with written text and moving images: Untitled functions as a still from this larger project it is culled from.

    Photographers have worked with archival impulses since the first latent image was fixed in attempts to make permanent that which is ultimately ephemeral. As such documents, ostensibly photographs are taken with the need to reference something specific and tangible. But is this indexicality lost  when the reference is towards that which is fleeting: a feeling, a meaning, a period of time? Perhaps, but this loss of intentioned indexicality opens possibilities within its ambiguity, allowing each viewer to project their own experiences onto the piece, re-assigning meaning and method. Through this re-assignement, the project is given life: the pictures are activated, the texts come alive. Suddenly, it all makes sense.

    Christopher Boyne holds an MFA from Concordia University in Montreal, Quebec.  His work has been exhibited throughout Canada and the United States and has recieved the Omer DeSerres Award for Excellent Achievement in Visual Arts and the Dick and Gretchen Evans Fellowship for Photography. He is currently based in Montreal and Halifax.   

    for more, please visit http://www.chrisboyne.com

  8. Louisa, 2011 by Michael Powers

    References to Dutch genre painting from the eighteenth century are palpable in Michael Powers’ photograph. A memento mori dangles from the top of the frame while fresh produce and reflective materials nod towards still-life traditions. Strong directional light reveals theatrically foregrounded action, a trademark of Flemish masters who ostensibly (according to research presented by David Hockney in his book Secret Knowledge) used lenses in the creation of their paintings.

    The overt stylistic references in Louisa emphasize photography’s ultimate indebtedness towards painting, asking larger questions about where visual traditions began. Photography has been curtailed as a technological innovation, but its history ultimately includes that of all image making. The Dutch captured everyday moments thrown by lenses in paint before we were capable of chemically fixing pictures; were these paintings not the original snapshots? Ambiguity in images, such as Louisa, distill this conversation while expanding visual meaning further and creating new knowledge about photographic innovation.

    Michael Powers holds a BFA from Massachusetts College of Art and Design. Currently based in Boston, MA, he is a contributing photographer to Boston based Photography Collective, “Camera Records In Time.” His photographs have been exhibited throughout New England and published both online and in print. 

    for more, please visit http://michaelpowersphoto.com

  9. Pathway to the Shire, disappearing photograph on silver gelatin paper by John Steck Jr

    Beginning with pictures thrown by camera obscuras, artists and scientists have long lamented over how to make the latent image permanent. But even when fixed by chemicals on archival paper, a printed photograph has a finite lifespan of just a hundred years. Eventually they all fade, even as archivists and historians work to stop this process and make the ultimately ephemeral photograph permanent. John Steck Jr. short-circuits this cycle of image production, preservation and destruction by making images that are meant to disappear.

    Just as the camera-obscura images of the early nineteenth century made by early proto-photographers, Pathway to the Shire continues to shift when exposed to light until nothing remains. Ultimately, it is an accelerated version of what will inevitably happen to all chemical photography. The delicate lines of tree branches and the passage beneath them mean less than the process: the image’s power pulls from its process and what it ultimately means to make a photograph that is meant to self-destruct. Through subverting the typical process of fixing images, John Steck Jr. brings attention to the ephemeral nature of all photography, questioning their cultural use as containers for memory and knowledge.

    John Steck Jr. holds a BFA from the Massachusetts College of Art and Design and is a current MFA candidate at the San Francisco Art Institute. Recent exhibits include Southern Exposure, The Center for Fine Art Photography and the 10x10 American Photobooks Exhibit at the Tokyo Institute of Photography (upcoming).

    for more, please visit http://johnsteckjr.com

  10. Small Magellanic Cloud, Plate D12135, 2012by Robin Myers

    Robin Myers’s other-worldly photograph of the galaxies beyond our reach began as an early 20th century astronomical glass-plate from Harvard University’s archives that was reshot through a 20 by 24 inch Polaroid camera at the Massachusetts College of Art and Design. The original image is re-imagined and asks the question of photography’s ability to transcend the present in search of the future. In an ever-changing medium and technology like photography, process situates photographs into historical frameworks: as production methods become outmoded, the resultant shifts locate objects within timeframes. Conflating processes reveals disparities between eras and creates intertextual tensions that allow new meanings to arise.

    This photograph concurrently holds multiplicities of eras, photographic technologies and institutions of higher learning, all of which become contradictory to one another. Divorced from its scientific archive at Harvard University, the careful gridding in the image’s background loses meaning. The feathering of the dyes and emulsion on the edges once belonged to a state-of-the-art process developed by Edwin Land at the Massachusetts Institute of Technology. But this process is defunct and the dated methodologies reveal photography’s impossibility of propelling us into the future, instead keeping us firmly rooted in the here-and-now.

    Robin Myers holds a BFA from Massachusetts College of Art and Design and currently lives and works in Boston, MA. Recent exhibitions include shows at the Aviary Gallery and the Humble Arts Foundation’s Small Prints exhibition at Flash Forward Festival in Boston. Her photographs are featured in Conveyor Magazine’s Dark Matter issue.

    for more, please visit http://www.robin-myers.com