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"	1990	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	0	color
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.