tell me, dark

chew well then

the enigma of fatality

this is what I mean

the untouchables

the shock

The Shock of the New (1982)

A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses mainly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.

we paint with our eyes

the rescue

oscar

the daughters of the minotaur

I care because you do

là où va le regard

A man sits in a pub as his cigarette slowly burns. The end.

[...] 
What has changed in The Last Century is time itself; in a reversal of cinematic norms, filmic time is transformed into photographic time: movement becomes stasis. The familiar notion that photography is a ‘frozen moment’ or a ‘point’ along the time-based ‘line’ of film has only been challenged relatively recently by moving images of motionless subjects in avant-garde films by Andy Warhol or Straub/Huillet and by Chris Marker’s stop-motion movie of photographic stills, La Jetée of 1962. Yet Taylor-Wood’s impulses are just as close to Caravaggio’s desire to subvert his medium’s inherent limitations, in his case by painting dynamic compositions that have the potential to destroy the picture’s stillness with imminent movement. 
[...]

erased

any moment

0 ANY MOMENT PREVIOUS TO THE PRESENT MOMENT 1 THE PRESENT MOMENT AND ONLY THE PRESENT MOMENT 2 ALL APARENTLY INDIVIDUAL OBJECTS DIRECTLY EXPERIENCED BY YOU AT 1 3 ALL OF YOUR RECOLLECTION AT 1 OF APPARENTLY INDIVIDUAL OBJECTS DIRECTLY EXPERIENCED BY YOU AT 0 AND KNOWN TO BE IDENTICAL WITH 2 4 ALL CRITERIA BY WHICH YOU MIGHT DISTINGUISH BETWEEN MEMBERS OF 3 AND 2 5 ALL OF YOUR EXTRAPOLATION FROM 2 AND 3 CONCERNING THE DISPOSITION OF 2 AT 0 6 ALL ASPECTS OF THE DISPOSITION OF YOUR WON BODY AT 1 WHICH YOU CONSIDER IN WHOLE OR IN PART STRUCTURALLY ANALOGOUS WITH THE DISPOSITION OF 2 7 ALL OF YOUR INTENTIONAL BODILY ACTS PERFORMED UPON ANY MEMBER OF 2 8 ALL OF YOUR BODILY SENSATIONS WHICH YOU CONSIDER CONTINGENT UPON YOUR BODILY CONTACT WITH ANY MEMBER OF 2 9 ALL EMOTIONS DIRECTLY EXPERIENCED BY YOU AT 1 10 ALL OF YOUR BODILY SENSATIONS WHICH YOU CONSIDER CONTINGENT UPON ANY MEMBER OF 9 11 ALL CRITERIA BY WHICH YOU MIGHT DISTINGUISH BETWEEN MEMBERS OF 10 AND 9 12 ALL OF YOUR RECOLLECTION AT 1 OTHER THAN 3 13 ALL ASPECTS OF 12 UPON WHICH YOU CONSIDER ANY MEMBER OF 9 TO BE CONTINGENT

Victor Burgin, "Any Moment," (1970)

cover up

the eye is a lonely hunter

heat me

et sic in infinitum

The primordial darkness of the universe at the moment before creation, as represented in a plate in Robert Fludd’s 1617 Utriusque Cosmi Maioris scilicet et Minoris Metaphysica, Physica, atque Technica Historia (The Metaphysical, Physical, and Technical History of the Two Worlds, Namely the Greater and the Lesser). The words Et sic in infinitum (“and like this to infinity”) are written on all four sides of the square. 
Courtesy Wellcome Photo Library.

god has no redeeming features