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.

One of the visionary multimedia artists of our time, Doug Aitken has worked in every medium: from architecture and photography, to sculpture and film, to installations and interventions. While Aitken's art varies in both theme and context, his installations encourage audience interaction and communal gathering, whether this is accomplished by staging a series of happenings, such as those that took place at the Museum of Modern Art, New York, during his Sleepwalkers exhibition in 2007, or by the creation of large-scale, outdoor installations such as 2009's Sonic Pavilion in Brazil, where he amplified the sounds of the Earth. His film and photography often explore themes of displacement and travel, united by his keen awareness of motion, sound, and color that come together to create his signature, dreamlike landscapes and the futurist aesthetic for which he has become known. His projects defy convention, creating new perspectives by challenging traditional linear narratives. Aitken has collaborated with talents from a broad range of disciplines, from Werner Herzog and Rem Koolhaas to Lou Reed. This beautifully designed book, made in close collaboration with the artist, is the first to examine Aitken's artistic development and surveys his work in all mediums.

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.