Bøger udgivet af Figure 1 Publishing

Striking photography and incisive texts document and reflect on the fascinating and uniquely Punjabi art form of sculptural water tanks.In the late 1970s, a unique local art form emerged in the villages of Doaba, a rural region of India’s Punjab state. Villagers who had moved elsewhere but retained close ties to the region began constructing elaborate multi-storey homes of brick or marble, topped with sculptural watertanks, sometimes called “showpieces.” Though almost unknown outside of India, in certain areas of the Punjab today homes like these dominate the landscape. The painted cement-and-rebar embellishments are usually individually commissioned, and take various forms including planes, animals, soccer balls, and weightlifters; in all cases, their intent is to announce and honor a family or individual’s presence in and connection to the region. Combined with the intricately decorated houses on which they perch, these works represent a merging of art, architecture, and everyday life that transcends conventional design norms to tell a diasporic story in a form that is unique to Punjab.Mumbai-based photographer Rajesh Vora visited 150 villages over several years to photograph hundreds of these works. In 2022, his photos were exhibited at the Surrey Art Gallery in British Columbia, Canada, a major center of the Punjabi diaspora. In addition to over 140 of Vora’s photographs, this volume offers texts by Rahul Mehrotra, who observes the hybrid and evolving conceptions of home that these vernacular forms express; Vora and Keith Wallace, the exhibition’s curator, who discuss the origins of the works and their travels in the region; Sajdeep Soomal, who locates the sculptures’ “dreams of technological modernity” on a trajectory flowing from the region’s agricultural past through to its independence from British colonization; and Satwinder Kaur Bains, who reflects on the nuanced and complex evocations that these photos tease from her own experience of migration.

A socially conscious, adventurous, and style-forward look at how to make drinks for anyone, anytime. “In a cocktail world that is starting to look and act more like a science laboratory than a bar, Evelyn Chick is a breath of fresh air. Her easy-to-follow recipes will give readers more time to entertain and enjoy the drinks themselves‿and isn't that the point?â€? ‿Ivy Mix, American Bartender of the Year (2015 Spirited Awards), Mixologist of the Year (2016, Wine Enthusiast), co-owner Leyenda, BrooklynA great cocktail is more than the sum of its parts. Globally acclaimed beverage expert Evelyn Chick knows that our enjoyment of a cocktail goes beyond the ingredients, equipment, and skills in the mix: it‿s about keeping an open mind and embracing the simple joy of sharing flavors with others. In this playful collection of recipes, Chick celebrates the simple joy of sharing flavors in approachable ways, offering unpretentious guidance on:Home bar tool and pantry essentialsSpirit categoriesEasy-peasy fancy garnishesSeriously refreshing summer drinks and warming cocktail-hour staplesLow-alcohol, zero-proof, and cannabis-inclusive optionsLarge-format servings for get-togethersVersatile syrups, tinctures, and infusions For the Love of Cocktails will inspire home bartenders‿both beginners and those looking to level up‿to curate the right drink for every occasion, whether you‿re in the mood for an after-work cocktail, a celebratory libation, or a backyard party favor. “Guaranteed to delight the palate of even the most discerning of cocktail aficionados. A must- have for the modern drinker.â€?‿Erick Castro, award-winning bartender; host of Bartender at Large“Levelling up the at-home happy-hour experience for any occasion ‿ Evelyn Chick mixes artistry and alchemy with practical advice, easy-to-find ingredients and mood-based recipes that deliver.â€?‿Elle Canada"This is the kind of mixology guide that will have a place on bookshelves for years to come."‿Library Journal

An in-depth look at the people and the science behind our attempts to pull carbon dioxide out of the atmosphere with direct air capture.Drawing on interviews with stakeholders at the intersection of climate science, energy technology, and public policy, Paul McKendrick's investigation traces more than 20 years of technological development with direct air capture, from Biosphere 2; to multi-million dollar promises from Richard Branson, Bill Gates, and Elon Musk; to the opening of Orca, the world's largest commercial direct air capture facility, in Iceland in 2021.Figuring prominently in this narrative is the genius of Klaus Lacknerwho, along with othershas fueled intense scientific and political debate, and spurred a value chain that spans finance, industry, technology, policy, and academia.McKendrick's clear and riveting prose presents the full story of this fascinating pursuit for the first time, inviting readers to learn more about this critical climate intervention option.

Art and physics collide in this expansive exploration of how knowledge can be translated across disciplinary communities to activate new aesthetic and scientific perspectives.Leaning Out of Windows shares findings from a six-year collaboration by a group of artists and physicists exploring the connections and differences between the language they use, the means by which they develop knowledge, how that knowledge is visualized, and, ultimately, how they seek to understand the universe. Physicists from TRIUMF, Canada's particle physics accelerator, presented key concepts in the physics of Antimatter, Emergence, and In/visible Forces to artists convened by Emily Carr University of Art + Design; the participants then generated conversations, process drawings, diagrams, field notes, and works of art. The "wondrous back-and-forth" of this process allowed both scientists and artists to, as Koenig and Cutler describe, "lean out of our respective fields of inquiry and inhabit the infinite spaces of not knowing."From this leaning into uncertainty comes a rich array of work towards furthering the shared project of artists and scientists in shaping cultural understandings of the universe: Otoniya J. Okot Bitek reflects on the invisible forces of power; Jess H. Brewer contemplates emergence, free will, and magic; Mimi Gellman looks at the resonances between Indigenous Knowledge and physics; Jeff Derksen finds Hegelian dialectics within the matter–antimatter process; Sanem Güvenç considers the possibilities of the void; Nirmal Raj ponders the universe's "special moment of light and visibility" we happen to inhabit; Sadira Rodrigues eschews the artificiality of the lab for a “boring berm of dirt”; and Marina Roy metaphorically turns beams of stable and radioactive gold particles into art of pigments, oils, liquid plastic, and wood. Combined with additional essays, diagrams, and artworks, these texts and artworks live in the intersection of disparate fields that nonetheless share a deep curiosity of the world and our place within it, and a dedication to building and sharing knowledges.

In this poignant display of the resilience of language, culture, and community in the face of the profound changes brought by settlers, Kluane First Nation Elders share stories from their lives, knowledge of their traditional territory (A¿ sì Keyi, "my grandfather's country"), and insights on the building of their self-governing First Nation. With generosity, diligence and deep commitment to their community, Elders from Lhù'ààn Mân Keyi (Kluane First Nation) recorded oral histories about their lives in the southwest Yukon. They shared wisdom, stories and songs passed down from grandparents, aunties and uncles, in Dan k'e (Southern Tutchone, Kluane dialect) and English. This years-long project arose from the Elders' desire for their children and future generations to know the foundations of language, culture, skills and beliefs that will keep them proud, healthy and strong. The Elders speak of life before the Alaska Highway, when their grandparents drew on thousands of years of traditional knowledge to live on the land through seasonal rounds of hunting and gathering; the dark years after the building of the Alaska Highway, when children were taken away to residential schools and hunting grounds were removed to form the Kluane Game Preserve and National Park; and the decades since, when the community worked through the Yukon land claims process to establish today's self-governing First Nation. Inclusivity is a key community value. The Elders' stories are accompanied by the voices of youth and citizens of all ages, along with a history of the Kluane region. The book is beautifully illustrated with Elders' photographs, historical images and art work, and photos showing breathtaking views of Kluane mountains, lakes, sites, trails, and activities in the community today. With passionate and deeply informed voices, this is a stirring portrait created by a community that has shown resilience through massive changes and remains dedicated to preserving their culture, language and lands for the generations to come.

Theatrum Mundi ("the theatre of the world¿) describes the diversity of masks and performances that originated from the violent struggles between European, Arabic and ¿New World¿ civilizations. This authoritative study celebrates over 500 years of Mexican and South American Indigenous dance dramas and explains how mask makers, religious practitioners, masqueraders and entrepreneurs have helped to continuously reinvent, revitalize and express the changing world around them.The culmination of four decades of research by Dr. Anthony Shelton, professor of art history and director of the Museum of Anthropology (MOA) at the University of British Columbia, the text is illustrated by field photographs and images from MOA and other notable mask collections

Many Lives Mark this Place is a unique and brilliant project: portraits of 32 of Canada's finest authors, painted into their "home landscape," each accompanied by a short-but-powerful essay about how that place influences their life and work. Hartman traveled from Newfoundland to Tofino and visited tiny hamlets, our densest metropolises, remote beaches, Rocky Mountain peaks, and even a shopping mall, often using camera-equipped drones or chartered planes to gain the vantage necessary for arresting, information-dense compositions.While the authors and places vary greatly in style and geography-from Johanna Skibsrud to Thomas King; the glaciers of the Rockies to downtown Montreal-each entry is united by John Hartman's rich and vivid painting style, which offers a novel perspective on the writers we love and the places that formed them.Featuring portraits of and essays by Carleigh Baker, David Bergen, Neil Bissoondath , George Bowering, George Elliott Clarke, Megan Coles, Douglas Coupland, Esi Edugyan, Marina Endicott, Will Ferguson, Camilla Gibb, Katherine Govier, Thomas King, Mary Lynk, David Macfarlane, Linden MacIntyre , Kevin Major, Heather O'Neill, David Adams Richards, Noah Richler, Chic Scott, Johanna Skibsrud, Sara Tilley, Guy Vanderhaeghe, M.G. Vassanji, Thomas Wharton, and Kathleen Winter.

Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue will be the first monograph to examine the full breadth and scope of Claxton's practice. It will be extensively illustrated and will include essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.

Vancouver's dining scene is synonymous with farm-fresh menus, boundless creativity, and a collaborative spirit. It's no surprise that the city has evolved to become a global foodie destination. Filled with mouthwatering recipes and beautiful photographs, Vancouver Eats presents 90 recipes from 45 of the city's best restaurants. With recipes for salads (Fable's Heirloom Tomato Salad with Burrata), soups (Tacofino's tortilla soup), brunch (Cafe Medina's fricassee champignons), mains (David Hawksworth's cherry tomato, olive, and arugula pizza), desserts (Thomas Haas's hazelnut praline éclair), and cocktails (The Botanist's Appleseed cocktail), this inspired anthology boasts a collection of original and innovative dishes by chefs who've put Vancouver on the culinary map. It even includes a few notable restaurants from Whistler. And best of all, the recipes have been designed with home cooks in mind. Beautifully illustrated throughout by award-winning photographer Kevin Clark, Vancouver Eats is the perfect book for those who want to recreate their favourite dining experiences in their own home. Restaurants include:Araxi . Bearfoot Bistro . Beaucoup Bakery . Blue Water Café . Botanist . Cafe Medina . Cartems Donuterie . Chambar . CinCin Ristorante . Cioppino's Mediterranean Grill . The Dirty Apron Cooking School . Fable Kitchen . The Flying Pig . Gotham Steakhouse & Bar . Guu . Hawksworth . Kissa Tanto . Le Crocodile . Maenam . Miku . Osteria Savio Volpe . Tacofino . Thierry . Thomas Haas Chocolates & Pâtisserie . Torafuku . And many, many more.

"Under Different Moons: African Art in Conversation shares--for the first time in print--the UBC Museum of Anthropology's extensive collection of brilliant objects from dozens of African cultures, gathered over nearly a century. These include masks from the Baule peoples of ôCte d'Ivoire, the Bijogos people of Guinea Bissau, and the Dogon peoples from Mali; three Bamana / Bozo puppet sets from Mali and Burkina Faso, with floats, cloth awnings and related animal masks; and Benin panels and castings, Makonde sculpture, and Yoruba thorn carvings that will make their public debut in the exhibition that this book accompanies. Throughout the book are beautiful photos of over 100 objects from the collection, as well as a dozen photos of contemporary artworks by Nigerian and Nigerian-Canadian artists. The first part of this book, by Anthony Alan Shelton, draws on an expansive ethnographic literature to contextualize MOA's collection within seven themes that reoccur in a wide number of societies across the African continent as well as in areas of Brazil and the Caribbean. In the second part, Titilope Salami focuses on contemporary Nigerian and diasporic artists to show the continued relevance of ritual practices in Nigerian artworks. And in the third part, Nuno Porto examines specific items in MOA's collection to reveal the social, historical, and market networks in which they once circulated and the changing significances ascribed them. Under Different Moons is part of a wider attempt to bring to public attention, especially that of African and diasporic Canadian communities, parts of an important cultural legacy, safeguarded in museums across the country, that can help empower new sectors and generations of citizens and widen the breadth and understanding of Canada's multi- and intercultural character."--

"The Wetland Project is a beautiful, quietly amazing work of micro-post-geographical art that allows us to be wherever we are and somewhere wonderfully natural and real, simultaneously. It’s an experience I wish everyone could have, and I wish there were more experiences like it."—William GibsonThe Wetland Project book is the print component of a multidisciplinary and multimedia project centred on the sounds emanating from the ṮEḴTEḴSEN marsh, in unceded W̱SÁNEĆ territory (Saturna Island, British Columbia). The book is edited by artists Brady Marks and Mark Timmings, who have been inspired by the sonic phenomena produced by this small patch of Earth to create a 24-hour Slow Radio Broadcast, based on field recordings from the marsh, that radio stations across North America and Europe have aired on Earth Day since 2017; a musical arrangement titled Wetland Senario, co-composed with Stephen Morris and performed by vocal ensemble musica intima; and a new media installation that algorithmically transforms sound frequencies from the marsh recordings into pure colour fields in flux.Contributors to the book include novelist William Gibson, MP and former Green Party leader Elizabeth May, poet and spoken-word performer Susan McMaster, musicologist Stephen Morris, writer Alex Muir, poet and W̱SÁNEĆ First Nation member Philip Kevin Paul, Stó:lō artist, curator, and scholar Dylan Robinson, sound artist and World Soundscape Project member Hildegaard Westerkamp, and curator, writer, and PhD student Laurie White. The algorithmic flow of colour fields throughout the publication combined with photos of the project and an audio interface accessed using smartphones and tablet devices will give the book a colourful, music box-like quality.Awarded first prize in the pictorial category at the 2022 Alcuin Awards for Excellence in Book Design.

"Where the Power Is: Indigenous Perspectives on Northwest Coast Art brings together contemporary Indigenous knowledge holders with extraordinary works of historical Northwest Coast art that transcend the category of "art" or "artifact" and embody distinct ways of knowing and being in the world. Dozens of Indigenous artists and community members visited the Museum of Anthropology at the University of British Columbia to engage with these objects and learn from the hands of their ancestors. The photographs and their commentaries speak to the connections between tangible and intangible cultural belongings; how "art" remains part of Northwest Coast peoples' ongoing relationships to their territories and governance; Indigenous experiences of reconnection, reclamation, and return; and critical and necessary conversations around the role of museums."--

DISTINGUISHED AUTHOR: Leslie Jen is a very well-respected authority on Canadian architecture and has been working on this book for five years. There are few people with the depth of knowledge of the contemporary scene that she brings to the project. She has lots of media contacts and will be able to get attention for the book from all the best places.SUPERB CROSS-SECTION: The book covers the most important and interesting firms from coast to coast, representing many different architectural languages, regions, and building types. It focuses strongly on the importance of regional vernaculars and how they interconnect to create a national architectural language.STUNNING VISUALS: Any great architecture book has to have fantastic photography, and this book fulfills that need, with beautiful exterior and interior shots, as well as drawings. Every page offers eye-candy for the design lover, and Naomi MacDougall's book design is contemporary and fresh.FOCUS ON CONTEMPORARY ARCHITECTURE: This book captures the Canadian architecture as it is developing in the country right now. It's about currently active firms and practitioners, their challenges, solutions, and aesthetics.

Puppeteers have enthralled audiences for millennia with their unique charm, not just telling stories but enacting history, sharing knowledge, and preserving culture. In this dazzling and immersive volume based on the 2019 exhibition Shadows, Strings and Other Things (UBC Museum of Anthropology), puppets from all corners of the globe are resplendent in striking photographs that illustrate texts from ten scholars and puppeteers. Bodies of Enchantment highlights still-vital traditional puppetry practices, as well as examples of modern adaptations of the form: translucent leather shadow puppets depict ancient Indian epics in modern-day Indonesia; Taiwan¿s long-running Pili glove puppetry show thrives in the digital era; and Indigenous filmmaker Amanda Strong uses stop-motion animation to create entrancing new realms. Bodies of Enchantment: Puppets from Asia, Europe, Africa and the Americas features over 150 full-color images, and chapters by nine additional contributors: Anthony Alan Shelton revels at the alluring uncanniness of puppets; Annie Katsura Rollins explores Chinese shadow puppetry; Sutrisno Setya Hartana introduces us to Indonesian wayang; Jo Ann Cavallo unpacks the archetypes of Sicilian opera dei pupi; Mary Jo Arnoldi encounters the Sogobò masquerade in Malí; Izabela Brochado shows the continued vibrancy of mamulengo in Brazil; Kathy Foley and Catherine Ries uncover the significance of clothing in Javanese wayang golak cepak; and Jill Baird shares the history of puppetry at the Museum of Anthropology.

Moving Still: Performative Photography in India explores themes of migration, gender, religion and national identity through the lens of modern and contemporary photography in India. While exploring the early beginnings of photography in India with works from Ram Singh II and Umrao Singh Sher-Gil, the primary focus of this publication is the lens-based practices of contemporary artists such as Naveen Kishore, Atul Bhalla, Tejal Shah, Vivan Sundaram, Sunil Gupta, Anita Dube and Pushpamala N. Artists rooted in the diversity of cultures and multiplicity within the country, while at the same time engaged in a global dialogue. The publication will include profiles on each of the participating artists, a timeline on the history of performative photography compiled by Critical Collective, as well as feature essays by Diana Freundl, Associate Curator, Asian Art at the Vancouver Art Gallery, and Gayatri Sinha, art critic and curator, that together expand on the historical importance and relevance of photography as an artistic medium in India as well as the development of performative photography.

Whitehorse traces the storied past of Yukon’s capital city, from its origins in ancient aboriginal camps through the epic changes of the Klondike Gold Rush, the building of the Alaska Highway, and the settlement of First Nations land claims. Set amidst rolling mountains on the edge of the Yukon River’s swift green waters, the city today blends aboriginal traditions with the tastes, music, and cultures of people from around the world. Yukon authors Helene Dobrowolsky and Linda Johnson headed up a talented team of writers and researchers to create this portrait of a legendary place. From its early days, Whitehorse was Yukon’s transportation hub, linking the Pacific with trails, then rails, then the elegant sternwheelers that steamed downriver to Dawson City until highways and air travel took their place. The town hosted a dazzling parade of people over the centuries, many of whom appear in these pages: hunters, traders, gold-seekers, soldiers, miners, ships’ captains, entrepreneurs, dog-mushers, storytellers, sports icons, politicians, community builders, adventurers, and artists. Filled with lively writing, colorful anecdotes, and an impressive array of contemporary and archival photos, Whitehorse celebrates the history of a very special place.

LEADING INNOVATOR: Burrows was a leader in the art scene in Vancouver beginning in the late 1950s when he arrived from Ontario. He has traveled the world and worked in London and Tokyo where he ran two private art galleries for several years. He was seen as one of the most influential leaders of the group of artists that came of age in the 1960s in the Vancouver art scene. This is the first book-length examination of his distinguished career.WIDE-RANGING: Burrows' work ranges from painting and sculpture to large conceptual works. He is also an engaging writer and the book includes some of his own essays BEAUTIFUL BOOK: The design of the book is sure to get the attention of awards committees -- it is beautifully detailed and a pleasure to look at

Gathie Falk is one of Canada's most heralded visual artists: she has won the Governor General's Award in Visual and Media Arts, the Audain Prize for Lifetime Achievement in the Visual Arts, and the Gershon Iskowitz Prize; she has been honoured with the Order of British Columbia and the Order of Canada; and her work is featured in major galleries across the country. From performance works involving eggs and bird feathers, to paintings of flower beds and night skies, to celebrated sculptures of fruit, men's shoes, and dresses, Falk's chronicles of the everyday span more than four decades and a variety of media.Apples etc. is Gathie Falk's memoir, a lively, personal, and yet unsentimental reflection on nearly ninety years of art and life. Falk tells of growing up in small Mennonite communities in the 1930s and '40s. These were hard years, as her Russian immigrant father died just ten months after she was born. While the family struggled financially, Falk recalls cabbage rolls made by hand, a backyard skating rink, and music lessons paid for by an anonymous donor. Her apprenticeship, she says, was a long one. After working a series of menial jobs, she trained as a public school teacher, which led her back to the art classes she'd given up as a child. It has now been fifty years since Falk's art career was launched, and her "veneration of the ordinary" has sustained her through the deaths of beloved friends and relatives, a short-lived marriage, broken bones, and debilitating pain. Interweaving stories about her community, her family, and her daily rituals with anecdotes about her major artworks, Falk paints a portrait of a life well lived.

BEAUTIFUL PAINTINGS: George Paginton's work is accessible and beautiful, in the tradition of Canada's iGroup of Seven with whom he was associated (though not a member). People will be surprised that an artist of such skill has not received recognition. This exhibition and book seeks to raise his profile.SUPERB PACKAGE: This book will be designed by Naomi MacDougall who designed the award-nominated Beau Dick: Revolutionary Spirit.

Gordon Ramsay calls it the best restaurant in Canada. The chefs at Araxi Restaurant and Oyster Bar call it a celebration of where they live. In this follow-up to their James Beard–nominated cookbook, award-winning chef James Walt and his team share 80 classic recipes from Araxi’s dining room and signature Longtable events, all adapted for delicious home cooking.

Susan Point's unique artworks have been credited with almost single-handedly reviving the traditional Coast Salish art style. Once nearly lost to the effects of colonization, the crescents, wedges, and human and animal forms characteristic of traditional Coast Salish art can now be seen around the world-reinvigorated with modern materials and techniques-in her serigraphs and public art installations, as well as in the works of a new generation of artists that she's inspired.While the images and symbolism of Point's work are often informed by surviving traditional Salish works and the Traditional Knowledge of her Musqueam family and elders, she has developed a unique and contemporary style that continues to evolve. People Among the People beautifully displays the breadth and depth of her public art, from cast bronze faces in Whistler to massive carved cedar portals in Stanley Park to moulded polymer murals in Seattle. Through interviews and archival access, Robert D. Watt gathers the story of each piece, often in Point's own words, to illustrate the vital role she has played in revealing and re-establishing the "Salish footprint" in the Pacific Northwest. An artists' statement by Point and an essay by Dr. Michael Kew complete this portrait of a profoundly moving collection of artworks.

For more than 100 years, Vancouver has been home to a vibrant and thriving Cantonese opera scene. As a performance art carried out by transient troupes, it is an ephemeral medium that rarely leaves a trace in the historic records. However, an extraordinary treasure trove of early 20th-century Cantonese opera costumes, props, and stage dressings made its way to the Museum of Anthropology in Vancouver, BC. In the first book-length study of this little known collection, April Liu retraces the arduous journeys of early Cantonese opera troupes who began arriving along the west coast of North America during the mid-19th century. A close examination of the costumes and props reveal the moving songs, stories, performances, and ritual practices of early Chinese migrant communities who struggled to make a home in a foreign and often hostile land.