Brad's work in context with other artists who explore time & space

Explorations of time and space are important to many artists. After visiting a show of vintage Muybridge collotypes from Animal Locomotion at Hartman Fine Art (154 NW 8th, Portland OR). I was inspired to show how Muybridge's work fits into time&space explorations with other artists. For example: Futurists, Cubists, Impressionists, Jan Dibbets, James Welling, Walead Beshty, and various photographic techniques.

One way to look at this wide variety of artists is in terms of subject movement, perspective movement, illumination movement, time scale, and representational method.

Movement or Artist Year Subject Movement Perspective Movement Illumination Movement Time Scale Repres- entation
Muybridge 1877 Yes No No sec multiple frames
Long Exposures always Yes No No sec blur
Anton Giulio & Arturo Bragaglia 1909 Yes No No sec multiple exposures
Futurist Paintings 1909 Yes No No sec spatial distortion & color
Sergei Mikhailovich Prokudin-Gorskii 1909 Yes No No min blur
Brad Carlile "About Flow" 2003 Yes No No min color
Florian Maier-Aichen 2009 Yes No No min color
Tim Maguire 2009 Von Lintel, NYC Yes No No min color
Joyce Eaton 2010 Jen Bekman, NYC Yes No No min color
Cubism 1909 No Yes No 0 spatial distortion
John Gaeta "Bullet Time" in The Matrix 1996 No Yes No 0 panning
Yasuhiro Ishimoto "untitled"


No Yes No 0 color
Carlile Layer(s) Organic 2004 No Yes No 0 color
Monet's haystacks 1890 No No Yes hours multiple paintings
Jan Dibbet's "The shortest day at my house in Amsterdam" 1970 No No Yes day multiple frames
Brad Carlile Day Amalgam 2003 - 2005 No No Yes hours, days color
James Welling's "Hexachromes" 2006 No No Yes mins, hours color
Brad Carlile Tempus Incognitus 2006 No No Yes hours, days color
Walead Beshty "Popular Mechanics" 2009 MoMA photograms No Yes min color
Brad Carlile "Layer(s) Inorganic" 2004 Multiple Subjects No No


Ken Kitano "Our Faces" 2009 Multiple Subjects No No 0 multiple exposures
James Welling "Glass House" 2010 No No Gel Movement 0 color

If you were wondering why I chose two seemingly different attributes under representation. I took a cue from Mondrian, who reduced painting's long-held "Disegno e Colore" to just lines and colors. In the simplist terms we have two representation possiblities (line & color). Side note: Historically, Italians used "Disegno e Colore" to describe the act of painting. To them, Disegno meant both "design" and "drawing." Colore to them meant both "color" and physically applying paint.

All of my work is created in film on camera without digital creation or manipulation.