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Comedy, in the 'screwball' style of the 1930s, directed by and
starring George Clooney. Set in the 1920s, the film stars Clooney
as Dodge Connolly, a brazen yet charming American Football captain
who is determined to guide his team to glory. However, his plans
suffer a major blow when the players lose their sponsor and the
future of the entire league is subsequently thrown into doubt. But
when Dodge convinces college football star Carter Rutherford (John
Krasinski) to join the team, he hopes that the struggling new sport
will finally capture the nation's attention. Carter is a war hero
who single-handedly forced a group of German soldiers to surrender
in the First World War. His good looks and incredible speed on the
field make him seem almost too good to be true, and reporter Lexie
Littleton (Renee Zellweger) sets out to prove just that.
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Mungo Thomson (Paperback)
Mungo Thomson; Edited by Clement Dirie; Text written by Donatien Grau, Sarah Lehrer-Graiwer, Tim Griffin; Interview by …
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R1,181
R960
Discovery Miles 9 600
Save R221 (19%)
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Ships in 10 - 15 working days
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Writings on Wade Guyton (Paperback)
Daniel Baumann, Johanna Burton, Bettina Funcke, John Kelsey, Vincent Pecoil, …
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R707
R584
Discovery Miles 5 840
Save R123 (17%)
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A Geometricised World In 1980 Peter Halley painted his first
“prisons,” re-deploying the language of geometric abstraction
in response to physical and bureaucratic environments. Radically
deconstructing the language of abstraction, he re-imagined it not
as a utopian source of liberation, but as a dystopian symbol of the
regulation of physical and social space. As he wrote in 1990: “I
wanted to draw attention to this geometricised, rationalised,
quantified world. I saw it as a world characterised by efficiency,
by regimentation of movement, bureaucracies, whether in the
corporation, government, or university.” Working in the era of
the mass adoption of personal computers and the advent of the
Internet, he developed a tightly organized system of discrete,
geometric forms that he refers to as “prisons,” “conduits,”
and “cells.” Adopting non-traditional materials such as Roll-
A-Tex, a paint additive that provides a readymade texture, and
Day-Glo fluorescent colors, he referenced a pervasive mechanization
of the human touch and technology in the postmodern environment.
Set within the context of a prolific period of painting and
critical writing in the 1980s, this catalogue traces the
development of Halley’s singular pictorial vocabulary.
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