Series consists of compositions by composer Elizabeth Raum. Contents include: handwritten notes, sketches, handwritten and typewritten scores with handwritten notations and edits, and descriptions of the compositions by Raum. Pieces included in the series are: The Man Watching; Olmutz Concerto; Legend of Heimdall; River Rhapsodie; Victims of Eagles; First and Gracious Sight; and Carol in Three-Three Time.

Series contains extensive published and finished works authored by Susan McCaslin from 1960 to 2023. The series contains a number of published works authored solely by McCaslin including poetry volumes, chapbooks, zines, small press works such as Letters to William Blake, and other chapbooks written for students and relatives. Also included in the series are works by McCaslin published or featured in edited works, chapbooks, independently published, small press companies, University department annuals and reviews, magazines, writer’s guilds, writing contest anthologies, literary collections, arts publications, church and community newsletters, religious associations publications and communications, among others. The writings in these published works include poetry, non-fiction chapters, creative non-fiction, essays, articles, reviews, memoirs, and opinion pieces, religious and political subject matter. Some of the publications contained in the series include, Andante Literary Magazine, Bellowing Ark: A Literary Tabloid, BC BookWorld, Crux: A Quarterly Journal of Christian Thought, Dialogue Magazine, The Eclectic Muse, Hammered Out, Island Catholic News, Lapis Lazuli, The New Orphic Review, Room of One’s Own, Sage-ing: The Journal of Creative Aging, Zygote editorial, to name a few. Within these publications, McCaslin may have contributed one or various works depending on her involvement, association or the editor compiling the contents. Both reviews of McCaslin’s work and reviews written by McCaslin of other author’s writing appear in the series. Susan McCaslin subscribed to numerous of the serial publications within the series, or received copies of the works as remuneration for her contribution.

Series arises from the production of books, broadsides and associated materials, and reflects the substantive functions of the Press.

Series consists of published material, mock-ups, dummies, proofs, artwork, photographs, broadsheets, colophons, correspondence, polymer plates, catalogues, reviews and commentary on manuscripts.

Series arises from the internal business activities of the press, such as the development of series, interactions with subscribers, press engagement and other activities.

Series contains notebooks, Greenboathouse Reading Series promotional material, autographs, sales, articles, finances, photographs, catalogues, correspondence, rejected manuscripts, reviews and mentions.

Series consists of newsletters and other published material by the Icelandic Canadian Club of British Columbia (ICC of BC) for purposes of reference and dissemination as well as materials related to the Club’s library holdings. Records include newsletters, brochures, analogue and digital copies of the library catalogue, newsletter formatting materials, and one manuscript.

Series documents McCaslin’s various personal, professional, and administrative activities spanning from 1970 to 2023. Awards, achievements and other accolades received by McCaslin from publishers, associations, societies, writing or poetry contests, are included in the series with correspondence and other related information. Materials related to McCaslin’s academic work during the preparation of her Ph.D. thesis at UBC are included in a file. The series contains substantial correspondence between McCaslin and various poets, authors, professors, writers, students, colleagues and visual artists both Canadian and International. McCaslin collaborated with various musicians and visual artists in several literary activities and presentations, correspondence, publicity and background materials are included in these files. Subject files within the series contain background research, drafts and preparation documents for various essays and non-fiction pieces prepared by McCaslin. Including ecopoetics, spirituality and poetry, Thomas Merton and Mary Olga Park. An index of literary influences is provided by McCaslin (RBSC-ARC-1847-09-22), additional files relating to specific literary associates contain correspondence, biographical information, reference material and notes. Some of these associates include Robin Blaser, E.D. Blodgett, Kuldip Gill, Grace Jantzen and Peter Russell.

Series contains transcripts, correspondence and reference material related to radio, magazine or newspaper interviews with McCaslin. The series also includes materials related to numerous poetry readings and events McCaslin engaged in between 1979-2023. Draft speeches, copies of poems, invitations, correspondence and promotional material related to these events appear in the files. As well as reference material and copies of poems consulted by McCaslin during her poetry memorization practice. McCaslin participated in Poetry in Transit, a project featuring poetry and artistic expression within BC Transit vehicles and spaces; catalogues and copies of the printed bus panels appear in the series. Both reviews about McCaslin’s work and reviews written by McCaslin for others appear in the series, as well as various letters of reference in support of McCaslin’s application for awards or other initiatives. Significant records relate to the preparation of talks, presentations, hosted and organized by McCaslin. The titles of a few talks are: Mothers, Mystics, Monsters (2002), Mental Illness and Poetry (2006), Ecopoetics and Contemplation (2017) and The Forgotten Feminine (2005). The series also includes materials related to workshops developed by McCaslin focusing on Leonard Cohen (2009), her memoir Into the Mystic (2009-10), and Ekphrastic Poetry (2019). Drafts and versions of unpublished works are included in the series. The series also includes significant material from the Han Shan Poetry Initiative led by McCaslin and her husband. Han Shan records include newspaper clippings, correspondence, attendance sheets, articles, planning, maps, events, poetry, artistic works, photographs and other related materials which were originally organized into two binders. Within several files, McCaslin has provided a brief explanation of the materials contained within, this may include contextual information about her relationship with an individual, organization or additional background information.

Series consists primarily of correspondence with and photographs of family and friends. Records also include school and sporting records from Wong’s childhood; journals; research on Wong’s family tree, including copies of immigration records for his parents; and business and personal records of Wong’s father Wong Mow. Records also include materials sent to Wong by other creatives, such as his childhood friend author Wayson Choy, author Julie Lawson, artist Raymond Chow and filmmaker Wesley Lowe.

Records included correspondence, report cards, certificates, magazine articles, journals, diaries, newspaper clippings, a chapbook, books, postcards, telegrams, photographs, pins, cufflinks, CDs, a clothing pattern, a shadow box, and a medal.

Series consists of publicity and promotional materials related to McCaslin’s literary work and activities between 1976 and 2023. Substantial written and email correspondence appear in the series between McCaslin and editors, contributors, publishers, artists, collaborators, event coordinators, literary colleagues and friends. Reviewers and publishers which McCaslin worked with appear in the files, along with reviews, feedback and comments received from colleagues, editors. Materials also relate to planning and coordination of events, book launches, talks, tours, presentations and poetry readings. The series also includes drafts and final versions of speeches and poetry reading packages performed by McCaslin. Newspaper clippings within the series document McCaslin’s personal, professional, and literary activities, publications, events, and other related materials. Promotional material within the series includes posters, bookmarks, pamphlets, invitations, notecards, author biographies, event information, book launch and tour schedules and occasionally draft or preliminary versions of writing, excerpts or photocopies of published works and other related materials. Within several files McCaslin has provided a brief explanation of the materials contained within, along with additional contextual information about the specific publication or evolution of the work over time. These notes indicate major adaptations or whether the writing was included in another edited publication or collection at a later date.

Series consists of posters, promotional material, and newspaper articles about Greenboathouse Press and Jason Dewinetz. Some promotional material for the Greenboathouse Reading Series can be found in the Administration series.

Series consists of personal and miscellaneous correspondence of Miki, including letters. greeting and post cards, pamphlets. booklets, poems, and photographs. Includes correspondence with other writers, friends, colleagues, and students, as well as with publications to which he sent submissions. Includes also some correspondence of an academic nature.

The following committees made annual reports to the BCHNPPG. Series consists of textual, graphic, and audio records generated by and related to the committees of the BCHNPPG. Committee reports may be attached to the executive minutes or be filed with their respective committees.

Series is arranged in the following subseries:

1. Executive
2. Archives
3. Biographical
4. Editorial Board
5. Membership Information and Lists
6. RNABC Memorial Book
7. Memorial Nursing Portrait Collection
8. Oral History
9. Pages of History
10. Scholarship
11. Website
12. Treasurer
13. Advisory
14. Program

This series contains materials accumulated by Ian McDonald related to the writing of his book “The Red Baron of IBEW Local 213” written about his father, Les McDonald. Materials include digital sound recordings of interviews, research articles, notebooks, consent forms, a draft royalty agreement, a draft chapter and a press marketing questionnaire.

Series documents Mayrs’s personal interests as well as family history. In particular it traces his passion for running, his correspondence on behalf of his personal political views, and some of his activities from when he was growing up (i.e. his work as a paper boy).

Record types include: a genealogy, recollections of Mayrs’s family history written by the creator, press clippings that mention Mayrs, speeches and letters written by Mayrs for friends and personal milestones, photographs and ephemera that relate to his personal and aggregate professional life.

Series documents Pratt’s roles in the British Columbia Government Employees Union, the British Columbia Federation of Labour and the United Way. Numerous academic papers, related to the NDP, socialism, and other related issues written by Alan Whitehorn and sent to Pratt are included in this series. Records related to Pratt’s role as the BCGEU Election Coordinator of the Political Action Working Group, as well as her retirement in 2007. Subject files relate to various women’s issues, BC Benefits, Charlottetown Constitutional Agreement, the Gove Inquiry, Ontario NDP-Labour Union relations, and other labour-related issues. Union professional materials include correspondence, discussion papers, briefs, government reports, committee minutes and agendas, and background papers. 1994 Federal NDP Convention Materials appear in this series as Pratt attended this conference as a BCGEU representative. Some records relate to Pratt’s association with the United Way. Pratt’s labour-related work is closely tied to her political career; where possible these records have been separated by role, however some overlap may be present among the Provincial and Labour Union series. Record types include correspondence, reference material, committee records, reports, newspaper clippings, news release, communications, collected speeches, publications, event programs, a photograph and button.

Series consists of original drawings, scores, handwritten notes and revisions, book/booklets and other materials relating to Szlavnics’ Gradients of Detail. Gradients of Detail was composed by Szlavnics in 2005 especially for Montreal-based string quartet Quatuor Bozzini. Szlavnics compositional process is closely affiliated with her line drawings which became the graphical representation of the score. This visual score was essential to represent the slow sustains and glissandi found throughout this work. The scores are meant to be read from left to right as time (in seconds) and from up to down as the high to low frequency range of pitch, though she cautions against reading this visual representation as exact pitches. These visual artworks must also serve to be art in and of themselves, as that would guarantee that the musical score translated out of it will be strong, according to Szlavnics. She says the forms in Gradients of Detail line drawings are related to the seed pods of the milkweed plant which she drew in Canada in the fall of 2004 just after her father passed away.

Series documents Mayrs’ visual art work—including his paintings, cartoons, and fine press limited edition books—and exhibitions that have featured it.
Records in this series include photographic reproductions of a large number of Mayrs’s paintings, drawings, books, and other artwork; promotional materials from exhibitions such as posters, flyers, exhibit catalogs; drafts and copies of both published and unpublished political cartoons; original and photographic reproductions of penwork, photographs, and other artwork created by Mayrs specifically for his books, including for un-published and in-progress works; and press clippings and correspondence specifically pertaining to Mayrs’s work in the visual arts.

Series includes newspaper articles and lecture notes written by Milroy on the subjects of letterpress printing and the book in the digital age, as well as photographs and a negative strip.

This series contains a wide variety of predominantly unbound, ephemeral materials produced by the press. The types of materials in the series includes business cards and promotional flyers, greeting cards and postcards, wedding and event invitations, calendars, and product packaging.

Most of the material was produced for local businesses or individuals. The series also includes some of the press’s own promotional flyers, business cards, and in-house designed cards.

The series contains records pertaining to Vancouver Status of Women’s (VSW’s) administrative and executive activities. These activities fall into several categories: financial administration, which included grant applications to governments and other organizations, budgeting, tax payments, bill payments, and resource distribution amongst staff; committee administration; volunteer administration; employment offers and employee management; correspondence with other organizations, particularly women centers in Vancouver; and strategic planning for the organization as a whole. Records in the series range in date from the early 1970s to 2016.

The physical order in which records were received has been maintained; original order has been re-constituted intellectually. Record types represented in the series include the following: grant applications, correspondence with funding agencies, budgets, cashflow statements, receipts, invoices, committee meeting minutes, volunteer training materials, employment offer letters, staff correspondence about internal issues, correspondence with other organizations, and annual reports.

Series encompasses material created as YWCA Metro Vancouver conducts activities to gain public awareness and drive community engagement. Activities represented include communications, product marketing, event planning, and compiling and presenting YWCA Metro Vancouver histories.

Records consist of newsletters, programs, brochures, videocassettes, audiocassettes, photographs, and other material arising from YWCA Metro Vancouver managing and communicating its image and to drive community engagement.

Series is arranged in three subseries: 1. Communications and marketing; 2. Events; and 3. YWCA Metro Vancouver history.

Records consist primarily of slides along with several photographs. The slides reflect projects that Cardew designed and built, including key projects such as the CN Pavilion at Expo ‘86, Lignum Sawmill Offices in Williams Lake, Crown Life Building (now known by its address at 1500 West Georgia), the Stone (Yunesit’in) Band School, False Creek Townhouses, and the Morris and Helen Belkin Art Gallery at the University of British Columbia, as well as his best known exhibition, Peter Cardew, Ordinary Buildings. Project slides include images of drawings, plans, models, and completed structures. There are also slides of various buildings that may have served as inspiration for his designs.

Records include architectural drawings of some of Cardew’s best known projects including the Crown Life Building (now known by its address at 1500 West Georgia), the Morris and Helen Belkin Art Gallery at the University of British Columbia, the Calgary Folk Music Festival Hall, the CN Pavilion at Expo ’86, the Lignum Sawmill Offices in Williams Lake, Reigning Champ Stores, the TNRD Public Library and Art Gallery, and the Yunesit’in First Nation (also known as Stone Band) School, as well as private homes, offices, and furniture designs. Drawings are both stapled and loose, hand drawn and printed, on a variety of media including tracing paper, bond paper, plastic, and vellum.

This series consists of records that were created and received throughout Lee’s life that relate to her service in the St. John’s Women’s Ambulance Corps.

Records include original materials from Lee’s period of service such as her registration card and her copy of the elementary drill manual. The majority of this series is records relating to the commemoration and recognition of World War II and its veterans and Lee’s involvement in organizing to make such events happen. These records include correspondence and ephemera relating to her participation in Canada’s Memory Project; meeting minutes and ephemera documenting Lee’s involvement with the ANAVETS Pacific unit 280 and Chinese Canadian Military Museum Society groups; and several awards and certificates of recognition that Lee received for her service.

Series contains copies of books and ephemera issued by A Lone Press (1998-1999) and Heavenly Monkey (1999- 2010) and includes setting copies, detailed page layout schematics, dummy of final book, final printing schedule and sequence, proofs and impressions, make-ready copies, printing plates, printing blocks, photographs and various other documents used in the creation of each item.

This series contains books that were printed and in some cases designed by the press. It covers a wide variety of styles of book, including artists’ books, exhibit catalogs, chapbooks, and experimentally designed and typeset versions of works in the public domain

Of particular note in this series are pre-published editions of several of the works of Vancouver artist Charles Mayrs, a selection of materials designed for and by the Alcuin Society, a group dedicated to book design, and a copy of the artist's book 'Loci' by Vancouver-based artist Allyson Clay.

Series consists of miscellaneous material about Terry Simmons and his activities falling outside of his involvement in ROSS and academics. It includes photographs from the 1971 Greenpeace voyage, photographic materials of the Skagit Valley and other environmental areas, and assorted other materials. The series also includes several photographs of the 1971 Greenpeace voyage featuring the Greenpeace crew with members of the Kwakwaka'wakw community, as well as a button reading “Oglala Nation, Wounded Knee.”

Series consists of musical scores, notes, sketches, concert programs, DVDs, and audio CDs pertaining to three distinct pieces composed by Lori Freedman: Reimsix, To The Bridge, and Concerto Now and Then. Each piece is unique and pertains to a specific era during Freedman’s long musical career. Reimsix was composed by Freedman in 2011 for the flute, clarinet, violin, cello, percussion and piano. To The Bridge was composed in 2014 for bass clarinet (clarinet in B-flat) and voice. This piece is composed of five miniatures connected by four bridges, hence the naming of the song. The bridge is where the miniatures arrive or depart from a place. Freedman explains her perspective as, “playing music is equally about composition as it is about interpretation and the spontaneous combination of the two — improvisation.” With this piece, Freedman wants to focus on the interconnection between the composer, the performer and the audience. Concerto Now and Then was composed in 2020 for any five musicians. It has previously been performed with a violin, clarinet, cello, alto saxophone, and double bass.

This series collects albums that created by Lee throughout her life. The albums are primarily thematic in nature and reflect Lee’s connections to political and community groups, her hairdressing career, and her personal life with her family and friends.
In addition to photos of Lee herself, there are many photographs that feature her triplets; politicians and celebrities that Lee encountered throughout her life including Grace McCarthy, Bill Van Der Zalm, and their families; and members of the Chinese Canadian Military Museum Society and Vancouver Chinese Canadian Activity Centre groups.

Series consists of musical scores, handwritten notes and sketches, and a manuscript of the printed first version of Il divertimento barocco (“Baroque Fun” in Italian) 1999 with hand-written edits and other unique manuscript material related to the work’s revision in 2019/2020. The piece was commissioned by the Orchestre baroque de Montréal with funding from Canada Council for the Arts and completed by Sokolovic in 1999, when it was performed at the Salle Pierre-Mercure in Montréal on November 4th. It was originally written for violin, harpsichord, and string ensemble, but has also been performed by baroque flute, violin, viola da gamba, and harpsichord at the Galerie Montcalm in Gatineau, QC in 2012.

Series contains photograph albums of various railways, elevators, and bridges associated with Swan's career as an engineer. Series also holds two other photographs outside of albums containing Swan and his associates and military Battalion.

The series contains records pertaining to the AUCE’s efforts to advocate for their members and bargain as a collective unit. Record types include agendas, minutes, and dockets of the Annual Conventions and Special Conventions held by AUCE, agenda and minutes of the meetings of the General Membership, contracts documenting the collective agreements between the workers and employers, and records of conferences, strikes, working conditions, news releases, as well as training records on stewardship, bargaining, striking and picketing.
While many of the records relate directly to equal pay, increased benefits, and cost-of-living increases, the advocacy and bargaining efforts of the union also changed in response to the changing provincial government and University of British Columbia administrative measures.
With the 1983 election and the introduction of the Social Credit Government, the union worked with other labor organizations throughout the province, forming the province-wide Solidarity Coalition to resist the conservative measures being proposed through legislation. The records also reflect the related efforts to defeat Bill 19, introduced by Bill Vander Zalm in 1987, which directly affected labour unions and their right to strike.
The union also directly opposed choices made by the UBC administration including a decision to bring in Ritchie & Associates, a management consulting firm to assess efficiency in the workplace, as well as budget cut-backs. This resulted in the formation of the UBC. Campus Community Alliance. These and other specific efforts are documented in the series.

In the mid-1980s, Anna Banana began to seriously consider ways that she might be able to create income outside of performance art. Using skills she learned while working at printers and publishers in San Francisco and Vancouver, Banana began to create and sell artistamps, and collected multiple artistamps created by others. Artistamps are a kind of Cinderella stamp used often in mail art, which differ from forgeries or other illegal stamps in that they do not intent do defraud authorities or stamp collectors, but rather are created with the intent to be art. They make up an important aspect of the mail art genre. Banana’s activities often included the production and use of artistamps, especially after she gained access to perforation machines and colour printing in the 1980s.

This series is made up of many of her artistamp sheets, as well as various sketches, final drawings, and printer transparencies created during the process of artistamp production, as well as stamps collected from others.

Series is made up of published materials collected by Anna Banana. Series was collected between 1970 and 2019, from before Anna’s beginnings in the mail art network up until the donation of the fonds to UBC.

Many items were created out of mail art collaborations, while others were collected because of reference to Anna’s work, reference to the mail art network as a whole, because the creators were friends or colleagues of hers or because the items held personal interest. Banana loosely divided this series into a number of different categories, which were the basis of the subseries found here: Zines, Periodicals, Books, Exhibit Catalogs, and “Best Examples of how Mail Art Evolved.” Items which do not fit into these specific categories have been set aside into a subseries labeled “Ephemera”.

Series consists of manuscripts and sections of manuscripts from poems, novels, plays, essays, and other written works by Hood.

Files consisting of many short texts, or untitled texts, have simply been named "Manuscripts." In all other cases, existing file names have been respected or, where available, have been attributed by the archivist according to the manuscript contained in the file.

Series consists of final scores, edited scores, notes, and a musical program related to Dorothy Chang’s composition Gateways: Double Concerto for Erhu and Piano. Gateways was commissioned by Nicole Ge Li and Corey Hamm of the Piano-Erhu Project (PEP). Players of the erhu and piano, respectively, they began PEP as a means of exploring the tonal, musical, and cultural blends between two iconic Eastern and Western instruments. For her addition to PEP’s mission, Chang reflected on how she might address the issue of ‘east meets west,’ especially given the solo instruments’ highly distinct and disparate sonic characteristics, performance practices, and musical traditions. Gradually, the piece evolved as a patchwork of musical fragments, moments, and memories gathered from her own multicultural experiences as a first-generation Chinese American, a Western expatriate living in Taiwan, and now an immigrant to Canada. Woven into the three movements are references to a 90’s Chinese pop song, a children’s rhyme, opulent Romanticism, American minimalism, and other influences both subtle and not. The title refers to a Tang Dynasty poem that depicts a gateway as both an opportunity and a barrier, reflecting a deep yearning for a faraway time, place, or memory. The work premiered April 14, 2018 at the VSO Annex Theatre; Ge Li and Hamm served as soloists; William Rowson conducted members of the Vancouver Symphony Orchestra.

Series consists of a small notebook containing typed copies of poems from Tao Te Ching by Lau Tzu, translated by Gia-fu Feng and Jane English, printed by Wildwood House, London. Also included in the notebook is Land of the Reed Plains: Ancient Japanese Lyrics from the Manyoshu, translated by Kenneth Yasunda.

Series reflects Jean Rands’s involvement in labour organizing in the B.C. lower mainland and in Saskatchewan, predominantly in the 1970s and 80s, both independently and in connection with the various unions and labour organizations she was part of. These include the Association of University and College Employees (AUCE), where she was a founding member; the Working Women’s Association (WWA), which disseminated information about labour issues faced by women; the Service, Office and Retail Workers Union of Canada (SORWUC), where Jean was a founding member and served as president at the national level; SORWUC Local 2, United Bank Workers; SORWUC Local 4, Bank and Finance Workers, where she served as president; Union Sisters, a grassroots group for women’s labour organizing in the B.C. lower mainland; and the British Columbia Teachers’ Federation (UTFE/TFEU).

The records consist of documents arising from Jean’s involvement as an executive and active member of these groups, such as meeting agendas and minutes, leaflets and flyers, legal documents, conference planning records, and correspondence. The records also consist of newspaper clippings and articles on topics of women and labour issues, reflecting Jean’s ongoing interest in these topics throughout her life.

File consists of newspaper and magazine clippings collected by Hood, some of which relate to his publications.

Series consists of three subseries: Unfinished artwork, drawings, and sketches; Reproductions and prints; and Art inventory files. Records contain original artwork by Lansdowne (most of it unfinished paintings and sketches) as well as a few pieces by amateur artists who were fans of Lansdowne's work and reproductions of Lansdowne’s artwork which include prints, posters, banners, exhibit catalogues and cards, order forms, stamps, road maps, calendars and the like. Records also include Art inventory files which contain records on pieces of art that Lansdowne produced, including an art inventory card index, and files varying in contents, but which typically included at least one reproduction of the artwork, an envelope containing an alpha-numeric code and the name of the bird(s) featured in each piece. Art inventory files may also include photographs, negatives, positives, slides, and photocopies and the like.

Series is made up of the various periodicals, books and textual items which Banana published over the course of her career. Most of these were published under the aegis of Banana Productions, a company first created while Anna was living in San Francisco. Project files contain magazines, newsletters, and artistamp editions; documents related to the creation of these publications, press and promotional materials; books and binders.

Series is arranged into seven subseries: VILE Magazine, Encyclopedia Bananica, Banana Rag, OOK (One Of a Kind) Books, Artistamp News, International Art Post, and Other publications.

Series consists primarily of family photographs. Other photograph subjects include scenes of Vancouver, particularly Stanley Park, as well as images and objects of historical interest. A small amount of textual material,a drawing, and a print are also included.Files names and order have been respected where they existed.

Series consists of both published sacred, secular, and popular music as well as hand-copied, transcribed music, collected by the members of the Icelandic community in Vancouver. Records include manuscript sheet music, part books, solo sheet music, and etude books; as well as vinyl recordings of various Icelandic music. Documents are arranged into files according to genre of music and language.

The music was collected from V. Baldwinson, the Icelandic Lutheran Church choir, H. Johnson, G. Thorleifson, Anna Camb, Gwen Dowding, E. Sigmar, R. Einarson, J. Goodmundson, R. Rasmussen, O. Stefanson, T. Thorsteinsson, O. Howardson, T. Friđliefosn, R. Ásgeirsson, j. Reykdal, A. Sveinsson, S. Sigurdson, and B. Gudmundson.

Series consists of various publications by Blais for several journals, newsletters, writer's festivals as well as research she performed on Madeline Harrower.

Series is made up of correspondence and mail-art related items received and collected by Anna Banana from the late 1960’s to the 2000s. The series reflects Banana’s involvement in the Mail Art movement (through what was then called the Mail Art Network – referring to a global network of artists who communicate through the post as an act of decentralization of artistic communication among the arts community) as well as her own personal mail. Beginning in the mid 60’s, mail art was a movement inspired by the Dadaists and futurists of the early 20th century, and made popular by notable artists such as Ray Johnson, as well as artist groups such as Image Bank and the New York Correspondence School. It remains a highly collaborative and decentralized global movement, with artists like Banana sending out, receiving, and manipulating artworks through the mail. It focuses on small form artworks, including rubber stamps, artistamps, decoration and adornment of letters and envelopes, chain mail and other creative forms.

Subject matter includes mail-art received through the Mail Art Network, personal mail to friends and family, and collected invitations to participate in mail art shows, publications and magazines, as well as catalogues of artists displayed in mail art shows, publications and magazines. Media in this series varies greatly due to the nature of the mail art movement, and the lines between textual and graphic records are blurred, so that many letters, envelopes and other classically textual mediums are often decorated with the use of paints, stamps, drawings, collage and other mixed media.

The series is arranged into 11 subseries using Banana’s existing filing system: Original mail art network, 1990s Mail art (Part 1), 1990s Mail art (Part 2), Mail art Fin de Siecle 2000, 2000s Mail art (Part 1), 2000s Mail art (Part 2), Mail art final years, Personal mail, Mail art show and publication invitations and catalogues, Unfiled mail, and Envelopes.

Records consist primarily of building permit applications, newspaper clippings, awards, diplomas, certificates of membership in professional organizations and posters of various lecture series in which Cardew participated. The series also includes records related to the operation of Cardew’s firm, Peter Cardew Architects, such as account ledgers, stamps, an embossing machine, the firm profile and an exhibition catalog for his best known exhibit Peter Cardew, Ordinary Buildings.

Series consists of original graphic scores, conductor's score, working templates, notes, art prints, and photographs related to the work ‘slippages’ by Montréal based composer and interdisciplinary artist Deborah Carruthers. In 2017, Carruthers served as the inaugural Artist in Residence at the Peter Wall Institute for Advanced Studies, University of British Columbia (UBC). Deborah teamed up with science researchers at the institution as well as the UBC School of Music to find a way to creatively combine sound, science, and visual art for the purpose of increasing public awareness of the climate crisis. Carruthers conducted field work for the project in the Columbia Icefield along the border of British Columbia and Alberta. Inspired by the threatened glacial landscape, Carruthers returned to her Montréal studio and completed a series of paintings, 27 of which were selected and arranged to produce a graphic score. Graphic scores use visual symbols to represent music rather than traditional music notation. Because of their emphasis on the visual, graphic scores are frequently considered works of art in and of themselves. Moving from sight to sound is accomplished through the creation of a geography of the orchestra on a sheet of transparent plastic which is then used to map over Carruthers’ art works and determine which instruments take responsibility for which parts of the images. ‘Slippages’ premiered Friday, October 5th, 2018, at the Chan Centre for the Performing Arts with the UBC Symphony Orchestra under the baton of the symphony’s Director, Dr. Jonathan Girard. Project documentation includes a notebook holding hand-written texts revealing assimilation of glacial theory, inspirational preliminary sketches, and unique inserts; an audio/video recording of the premier; and a copy of a video component to be shown above the orchestra as it performs the work.

Series consists of materials related to Ainslie’s book, Okanagan Artists in their Studios, which was published in 2013. The book focuses on thirteen artists who live and work in the Okanagan, highlighting their art as well as their thoughts about their lives, beliefs, and work. Ainslie was welcomed into the artists’ homes and studios, allowing her to get a better picture of the specific environments that inspire them. The materials in the series are those she used to write the book, including notes, interview transcripts, correspondence, promotional materials, audio and video cassettes, photographs, and copies of other published materials on the chosen artists.

Records in this series document the FMCBC's efforts to educate and communicate with members, as well as the public at large. Many records relate to the FMCBC's operation of the Canada West Mountain School (CWMS), as well as educational materials about conservation, and wilderness activities. Past issues of the FMCBC's newsletter to members, 'Cloudburst', form a large part of the series. Correspondence, brochures, newsletters and reports are major record types throughout the series, though maps, ephemera, and photographs are also present.

Series consists of scores, edits, correspondence, and a publication related to two compositions by Barbara Monk Feldman: The Northern Shore for Percussion, Piano and Chamber Orchestra; and, The Pale Blue Northern Sky. The Northern Shore for Percussion, Piano, and Chamber Orchestra is a 2018 revision of Monk Feldman’s 1997 work, The Northern Shore. Whereas the earlier version was written for violin, piano, and percussion, the revision is scored for chamber orchestra. Monk Feldman wrote the piece as an abstracted impression of the colors, textures, and atmospheres evoked by a specific place and time in nature, in particular the Gaspé Peninsula in Quebec where the St. Lawrence River widens into the ocean. Here, the opposite shore appears across the water to Monk Feldman as a sort of mirage that is either enhanced or diminished by the intensity of light on the water during the day. It is this memory of light that Monk Feldman found inspiring, utilizing the way that differing registrations of the violin are sustained in relation to the percussion and piano as an intimation of light and horizon. The Pale Blue Northern Sky was similarly inspired by the same Gaspé location and thus acts a ‘sister piece’ to The Northern Shore. It was written in 2007 for two guitars and a mandolin.

Seeking Refuge is a graphic novel written by Irene N. Watts and illustrated by Kathryn Shoemaker. Published in 2016, the work is a sequel to the 2008 graphic novel Good-bye Marianne, and it is an adaptation of Watts' 2000 novel Remember Me. The work tells the story of a young refugee relocated as part of the Kindertransport prior to World War II.

Records in the series include the original art and sketches by Shoemaker (done in pencil) and manuscript by Watts, as well as correspondence between the writer, illustrator, and publisher, and various drafts, corrections, proofs, and research material. Research materials include items used by Shoemaker for illustrations, as well as materials originally belonging to the author, Irene N. Watts, and used to produce Remember Me and Seeking Refuge. These include transit and travel guides, maps, and informally and formally published writing about wartime experiences, particularly focused on the experiences of children.

Together, the files of the series covers the production of Seeking Refuge, from early text to final art, and illustrates much of the creative process by and between Watts and Shoemaker, including transitioning from print to graphic novel, developing graphics, and fitting illustration and text.