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|
|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|
|Tim Maguire||2009 Von Lintel, NYC||Yes||No||No||min||color|
|Joyce Eaton||2010 Jen Bekman, NYC||Yes||No||No||min||color|
|John Gaeta "Bullet Time" in The Matrix||1996||No||Yes||No||0||panning|
|Yasuhiro Ishimoto "untitled"||
|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.