Sub-series reflects Mary Bishop’s interest in and research about population growth and change, with a particular focus on the Canadian context.

Records contained in this sub-series include published grey literature on topics related to Canadian population, including immigration; population policy; and population statistics and projections.

Sub-series reflects Mary Bishop’s interest in and research about global population trends in the 1960s, 70s, and 80s. This sub-series is mostly comprised of published grey literature on topics related to population, including population statistics, population policy, laws, education, and world fertility surveys.

Sub-series reflects Mary Bishop’s interest in and writing about the topic of abortion, both historical and contemporary. The sub-series mostly comprises Bishop’s accumulation of newspaper articles reflecting perspectives on abortion access covered in news media from the 1960s to the 1980s. It also reflects Bishop’s research and published writing on the subject of abortion; perspectives within the Roman Catholic Church for and against abortion; abortion statistics in Canada; and medical information on abortion.

Records include newspaper clippings and magazine articles; reports on the subject of abortion; communication on abortion by pro-life movements (e.g., pamphlets, newsletters, articles); draft articles authored by Bishop on abortion; as well as some briefings, memorandums, press releases, and correspondence between Canada members of parliament.

Sub-series reflects a set of subject files maintained by Mary Bishop on a wide range of topics related to the social, political, and economic dimensions of family planning, birth control, and population growth. The files cover a broad spectrum of these subjects, including families and family planning (adoption, artificial insemination, birth control methods, sex education); population growth and planning (Zero Population Growth, non-governmental organizations); and social issues (child and spousal abuse, aging, unemployment, poverty). A small number of subject files on other topics is also present.

Records contained within the sub-series are mostly newspaper and clippings, and reproductions of articles; also contained within are government publications, pamphlets; and some correspondence.

Sub-series reflects Mary Bishop’s writing (published and unpublished) on family planning and birth control, particularly on its history in Canada. Bishop’s writing projects which are documented in this sub-series include: “The Politics of Abortion: Trends in Canadian Fertility by Larry Collins, Revisited” (Atlantis, 1982); “The Early Birth Controllers of BC” (BC Studies, 1984); “Vivian Dowding: Birth Control Activist 1892-“ (Not Just Pin Money, 1984); a contribution to the first Canadian Encyclopedia on the history of birth control in Canada; and an article on the Roman Catholic Church and the birth control movement.

Records contained within this sub-series include draft manuscripts; research notes; correspondence with publishers; and published editions of these various writing projects.

Sub-series reflects a set of interviews conducted by Mary Bishop in the late 1970s relating to her long-term project of documenting the history of the birth control movement in Canada between 1920 and 1980. Bishop interviewed several individuals with lived experience connected to this history, including physicians; religious leaders; and women and couples who spoke about their experiences seeking reproductive healthcare. The interviews were funded by a grant from the Explorations Programme supplied by the Canada Council.

Records in this sub-series include interview transcripts; typed and handwritten notes; interview releases; accompanying documentation on the history of birth control and dissemination of information about family planning; and one photograph.

Sub-series reflects Mary Bishop’s volunteerism as part of the Planned Parenthood Federation of Canada, where she was vice president between 1975–77, and also served on the board. In 1975, Bishop represented the PPFC at the United Nations International Women’s Year Tribune in Mexico.

Records in this sub-series include documentation of Bishop’s participation in several international conferences (such as itineraries, photographs, notes, and reports); newspaper clippings; committee documents; correspondence; reports; financial records and statements; and draft marketing and communication of the PPFC.

Sub-series reflects Mary Bishop’s volunteer involvement with the Planned Parenthood Association of British Columbia. Bishop was the President of this organization in 1971, 1972, and 1973, and she served on the board between 1966–1970. She also served on various committees with the PPABC.

Records contained in this sub-series include organizational records for the Planned Parenthood Association of British Columbia (such as financial records, minutes, annual reports, constitution and by-laws), as well as newspaper clippings, correspondence, and committee documents.

Sub-series reflects Mary Bishop’s volunteer service and membership within organizations outside of the IPPF, PPFC, and PPABC. These include the University Women’s Club of Vancouver; Alumni UBC, where Mary Bishop served on the Heritage Committee; the Norman Mackenzie Alumni Scholarship selection committee; and various Status of Women action committees at municipal, national, and international levels.

Sub-series reflects Mary Bishop’s involvement with the International Planned Parenthood Foundation. Bishop was appointed to a Laws and Policy Panel by the Western Hemisphere Board of the International Planned Parenthood, and served as a representative in at least five international conferences between 1976–1984.

Records in this sub-series include reports, policy documents, and other grey literature on family planning topics; newsletters; draft writing and speeches; correspondence; and newspaper clippings.

Subseries documents the curator files of Jonathan Middleton, Director/Curator of the Or Gallery from September 2007 to September 2017.

Exhibitions represented in this subseries include:

• Cedric and Nathan Bomford, “For Fools and Traitors – Nothing”, co-curated with guest curator Michèle Faguet (September 7 – October 13, 2007)
• Johanna Unzueta, “Work Dignifies”, co-curated with guest curator Michèle Faguet (11 January – February 23, 2008)
• Alejandro Cesarco, Germaine Koh, Micah Lexier, “This Particular Day of June” (May 9 – June 14, 2008)
• Aaron Carpenter, Steven Hubert, Kathy Slade, “Hold On” (June 6 – July 13, 2008)
• Laiwan, “Loose Work” (August 8-23, 2008)
• Miguel da Conceicao, Devon Knowles, Claude Zervas, “In the diagram below, line AB and line GH intersect at point D” (September 6 – October 11, 2008)
• Mat Bushell, Guido Molinari, Monique Mouton, Richard Tuttle, “Making Real”, co-curated with guest curator Eli Bornowsky (October 17 – November 22, 2008)
• Adel Abidin, Abbas Akhavan, A.S. Dhillon, Josephine Meckseper, Martha Rosler, Gail Wight, Retort, “shrink-wrapped”, co-curated with guest curator Alison Rajah (December 6, 2008 – January 24, 2009)
• Ahbyah Baker, Jason Froese, Dana Hawkes, Eric Roddy, Darius Stein, Dylan Wolney, “Danger in Paradise”, co-curated with guest curator Dana Claxton (January 31 – March 7, 2009)
• Lutz Bacher (Berkeley), Drakkar Sauna (Lawrence, Kansas), Heather and Ivan Morison (Wales), Oscar Tuazon (Paris/Tacoma), Jordan Wolfson (New York/Berlin), “Of vagrant dwellers in the houseless woods”, co-curated with guest curator Eric Frederickson (March 13 – April 18, 2009)
• Tacita Dean, Leslie Grant and Al Bersch, Jason Hendrickson, David Horvitz, Donald Lawrence, “The Wild So Close”, co-curated with guest curator Jennifer Cane (April 25 – May 30, 2009)
• Brady Cranfield, Robert Filliou, Mark Nakamura, Nicole+Ryan, Håvard Pedersen, Kate Sansom, Holly Ward, “Science Fiction 01” (June 27 – August 1, 2009)
• Debra Baxter, Dawn Cerny, Barb Choit, The Goggles (Michael Simons and Paul Shoebridge), “Death & Objects” (September 12 – October 17, 2009)
• Mariana Castillo Deball, Michele Di Menna, Until We Have A Helicopter, “Ginger Goodwin Way”, curated by Jesse Birth (January 27 – March 27, 2010)
• Rebecca Belmore and Terrance Houle, “Friend or Foe,” co-curated with guest curator Darrin Martens (April 24 – Mary 29, 2010)
• Kristina Lee Poseva, Brown Globe, at No Soul for Sale, Tate Modern (May 14-16, 2010)
• “Hold Still Wild Youth: The GINA Show Archive”, co-curated with guest curator Allison Collins (June 5 – July 10, 2010)
• Aleesa Cohene, Alex Da Corte, Jon Pylypchuk, Markus Vater, “Seemed Like a Good Idea at the Time”, curated by Kim Nguyen (September 11 – October 23, 2010)
• C\R\I\T\I\C\S, Josh Rose, Absurdus, Christian Nicolay, Ya-chu Kang, “Clamour and Toll”, co-convened with guest curator Eli Bornowsky (February 17, 2010)

Subseries documents the curator files of Michèle Faguet, Director/Curator of the Or Gallery from January 2006 to August 2007.

Exhibitions represented in this subseries include:

• Derek Brunen, “Plot” (January 25 – March 3, 2007)
• Jeremy Shaw, “Best Minds Part 1” (March 30 – May 5, 2007)
• Helena Producciones, “Cali en el espejo” (May 18 – June 23, 2007)
• Robert Arndt, Raymond Boisjoly, Matthew Booth, Heidi Johansen, Kyla Mallett, Jeremy Todd, “Between You and the Thing Itself”, guest curated by Dan Starling (June 29 – August 4, 2007)
• Andrea Stultiens, “Travels and Escapes”, co-curated by Jonathan Middleton and guest curator Michèle Faguet (October 26 – December 1, 2007)
• Chris Campbell Gardiner, “dia-bollein and sym-bollien abracadabra”, co-curated by Jonathan Middleton and guest curator Michèle Faguet (March 21 – April 26, 2008)

Subseries documents the curator files of Sydney Hermant, Director/Curator of the Or Gallery from March 2002 through 2005.

The following exhibitions are represented in this subseries:

• Emily Vey Duke, Cooper Battersby, Shary Boyle, “Perfect Nature World” (May 7 – June 8, 2002)
• Una Knox, Corrin Sworn, Jace Lacek, Amy Lockhart, Holly Ward, Warren Auld, Terrence Dawes, Sabine Bitter, Helmut Weber, “The Village” (June 15 – July 13, 2002)
• Johanna Burke and Matt Dilling, “Welcome to Vancouver” (July 20 – August 10, 2002)
• Jason McLean, Holly Ward, Scott Evans, Shayne Ehman, “The Log Family” (September 7-28, 2002)
• Lesley Hope Farley, “Moving and Shaking It” (October 19 – November 16, 2002)
• Shayne Ehman, “Free Jazz Pinball” (October 19 – November 16, 2002)
• Sonja Ahlers, “We Didn’t Start the Fire” (January 11 – February 8, 2003)
• Una Knox, “In Love With Possibilities” (February 22 – March 2, 2003)
• Jason Breeden, Tony Romano, Corrin Sworn, “Explorations in Psychic Geography” (March 29 – April 26, 2003)
• Kim Austin, Stephanie Aitken, Tyler Brett, Marina Roy, Antik Sandor, Igor Santizo, Sam Shem, Rhonda Weppler, “Saturday Society: Explorations in Psychic Geography II” (May 10 – June 14, 2003)
• Danica Phelps, “Ten Day Trade” (June 18-28, 2003)
• Adalgisa Campos and Carol Sawyer (July 5 – August 2, 2003)
• Derek Root, Tim Lee, Maura Doyle, Kathy Slade, Sarah Edmonds, and Shannon Oksanen, “Confidence” (March 10 – April 16, 2004)
• Hannah Jickling and Valerie Salez, Demian Petryshyn, Eleanor Morgan, Jeremy Diggle, Leigh Bridges, Nadia Myre, Jen Weih, “Hurry Slowly” (March 20 – April 17, 2004)
• Dani Gal, “Holdup” (May 1-29, 2004)
• Shary Boyle, “Companions” (June 4 – July 3, 2004)
• Rhonda Weppler and Trevor Mahovsky, “Rhonda Weppler and Trevor Mahovsky” (September 8 – October 2, 2004)
• Vanessa Kwan, “Your Private Sky” (April 23 – May 2, 2005)
• Anika Yuzak, “Pictures of Myself When I Think That I Look Good” (June 4 – July 2, 2005)
• Annie Dunning, “The Pigeon Homing Project” (July 1 – August 31, 2005)
• Daina Warren, “Transference” (July 6 – August 6, 2005)
• Robyn Laba, “Thinking/Judging” (July 9 – August 6, 2005)

Subseries documents the curator files of Reid Shier, Director/Curator of the Or Gallery from April 1996 to March 2002.

Exhibitions represented in this subseries include:

• Patricia Deadman, Stan Douglas, Deanna Ferguson, Philippe Raphanel, Lawrence Paul Yuxweluptun, “Rough Bush” (July 13 – August 10, 1996)
• Robin Peck, “Sculptures of Gypsum Crystals” (September 14 – October 12, 1996)
• Corinne Carlson and Larry Krone (October 19 – November 16, 1996)
• Bruce Hugh Russell, “Sala dell’ermafrodito” (November 23 – December 21, 1996)
• G.B. Jones, “Bad. Good.” (November 23 – December 21, 1996)
• Tonel, Rene Francisco, Ponjuan, “New Art From Cuba: Utopian Territories”, co-curated by Keith Wallace of the Contemporary Art Gallery, Scott Watson of the Morris and Helen Belkin Gallery, Eugenio Valdez, and Juan Molina (March 21 – April 19, 1997)
• Kevin Ei-ichi De Forest, “The Record Shop” (May 31 – June 28, 1997)
• Myfanwy Macleod, “My Idea of Fun” (May 31 – June 28, 1997)
• Tass Mavrogordato and Ann Newdigate, “Truth or Consequences”, co-curated with guest curator Anthony Kiendl (July 4 – August 2, 1997)
• Karin Geiger, “Plush Toys and Poster Boys” (September 13 – October 11, 1997)
• Jerry Allen (October 18 – November 15, 1997)
• Luanne Martineau, “Ryan’s Arcade” (October 18 – November 15, 1997)
• Lise Soskolne and Yunhee Min (November 22 – December 20, 1997)
• Nancy Davenport, “Accident Prone” (January 10 – February 7, 1998)
• Phillip McCrum, “Tear” (February 14 – March 14, 1998)
• Philip Dion, “Selected Projects for the Reconstruction of Vancouver” (February 14 – March 14, 1998)
• Tyler Ingolia, “Somewhere”, co-curated with guest curator Geoffrey Farmer (March 21 – April 18, 1998)
• Euan Macdonald (April 25 – May 23, 1998)
• Fiona Bowie, “Deliverance” (April 25 – May 23, 1998)
• Judy Radul, “Documents for Performance” (May 30 – June 27, 1998)
• Francis Alÿs, “Dog Rose” (July 4 – August 1, 1998)
• Christine Corlett, “Salon: As You Keep Hurting Me, I'm Leaving” (September 12 – October 10, 1998)
• Edith Dekyndt and Damian Moppett (October 17 – November 14, 1998)
• Karin Bubas, Trevor Mahovsky, Scott Myles, “Monument Valley” (November 21 – December 19, 1998)
• Emily Carr and Jack Shadbolt, “Heart of Darkness”, co-curated with Scott Watson of the Morris and Helen Belkin Art Gallery (January 16 – February 27, 1999)
• Priscilla Yeung, “No Matter What” (May 29 – June 26, 1999)
• Daniel Anhorn, Renée Burgess, Maura Doyle, Polly Gibbons, Kirsten Harry, Herman Kao, Alison MacTaggart, Nadine Nickull, Shauna Oddleifson, Ellen Pollard, Crystal Przybille, Kate Stefiuk, Kenneth Sherman, Donna E. Szokem, Maria Patricia Yam, “Helen Pitt Awards” (July 3-31, 1999)
• Martin Boyce, Martin Creed, Angela de la Cruz, Jeremy Deller, Liam Gillick, Douglas Gordon, Lucy Gunning, Dean Hughes, Gareth Jones, Jeff Luke, David Shrigley, Jemima Stehli, T.S.U. Toronadoes, “Getting the Corners”, co-curated with guest curator Matthew Higgs (September 15 – October 23, 1999)
• Evan Lee, photographs (February 12 – March 11, 2000)
• Muu Blanco, Jose Gabriel Fernandez, Diana Lopez, Carlos Julio Molina, Alfredo Ramirez, Javier Tellez, Meyer Vaisman, “Demostrationräume: A Case Study”, co-curated with guest curator Jesus Fuenmayor (March 25 – April 22, 2000)
• Michelle Lopez, Peter Schuyff, Marina Rosenfeld, Sandeep Mukherjee, Marnie Weber, Alex Slade, “Philosophy in the Bedroom”, co-curated with guest curator Anne Walsh (May 5 – June 10, 2000)
• Stephen Shearer, “Swinging Lumpen” (July 8 – August 5, 2000)
• Malin Bogholt, Karin Persson, March 21, “Curatorial Mutiny Part 3”, organized with Konstakuten, Stockholm (January 20 – February 24, 2001)
• Mark Lewis, “North Circular & After (Made for TV)” (March 3-31, 2001)
• Isabelle Pauwels (April 7 – May 5, 2001)
• Kyla Mallett and Allison Hardy, Zin Taylor, “Secondhand”, guest curated by Damian Moppett (October 13 – November 10, 2001)
• Shannon Oksanen, “Spins” (February 16 – March 16, 2002)

Subseries documents the curator files of Janis Bowley, Director/Curator of the Or Gallery from January 1994 to April 1996.

Exhibitions represented in this subseries include:

• Michael Banwell, “Development and Desire” (January 15 – February 12, 1994)
• Douglass Scott, “July, August, September” (February 19 – March 19, 1994)
• Kati Campbell, Daniel Laskarin, Phillip McCrum, “New Works”, co-curated with guest curator Warren Murfitt (March 22 – April 16, 1994)
• Laura Vickerson and Helen Sebelius, “Camera Florae” (April 23 to May 21, 1994)
• David Acheson, “Zoophytes” (May 28 – June 25, 1994)
• Gwen Boyle, “Arc” (July 2-30, 1994)
• Sheila Ayearst, Laura Baird, Bob Boyer, Naoko Furue, Mindy Van Miller, Louise Noguchi, Ted Rettig, Robert Windrum, “Textiles, That is to Say”, co-curated with guest curators Sarah Quinton and John Armstrong (September 9 – October 7, 1994)
• Doug Buis, “Home and Oasis” (October 15 – November 12, 1994)
• Julie Andreyev, “Katabasis” (November 26 – December 23, 1994)
• Donna Brunsdale, “Ambivalencia” (January 7 – February 4, 1995)
• Stan Denniston, “fictions” (February 11 – March 11, 1995)
• Luke Blackstone, “Not to Code” (March 18 – April 15, 1995)
• Gillian Collyer, Catherine Heard, Germaine Koh, Roxane Permar & Wilma Johnson, Ruth Scheuing, Needle Arts Show (April 22 – May 20, 1995)
• Reid Shier, “Cheap” (May 26 – June 24, 1995)
• Kevin Kelly, “Building Natural History” (September 9 – October 7, 1995)
• Carole Itter, “The Float” (October 21 – November 18, 1995)
• Gaye Jackson “Travelogue”, Monique Dykstra, “Too Thick To Drink, Too Thin To Plow” (November 25 – December 23, 1995)
• Margaretha Bootsma and Jill Sabre, “Alterations: Reprotecting the Space” (January 6 – February 3, 1996)
• Anne Mosey, “A Paradise, A Veritable Garden” (March 16 – April 13, 1996)

Subseries documents the curator files of Susan Schuppli, Director/Curator of the Or Gallery from September 1991 to December 1993.

Exhibitions represented in this subseries include:

• Bill Burns, “When Pain Strikes” (September 10-28, 1991)
• Laura Lamb, “There are more things in heaven and earth, than are dreamt of in your philosophy, Horatio” (October 8-26, 1991)
• Marian Penner Bancroft, “Holding” (November 5-23, 1991)
• Sutapa Biswas, “Synapse” (December 3-21, 1991)
• Jamelie Hassan, “The Conference of the Birds” and “Baghdad Commemorative Billboard Project” (January 14 – February 1, 1992)
• Marianne Nicolson, “A House of God” (February 4-22, 1992)
• Henry Tsang, “Love Stories” (March 3-22, 1992)
• Lisa Kokin (USA), “Unearthing”, installation (April 7-25, 1992)
• Paul Landon, “Heavy Weather”, (May 12-30, 1992)
• Jean Macrae, “Two Walking Days” (June 9-27, 1992)
• Kathryn Walter, “Regarding Places”, installation in an office space on the 7th floor of the Dominion Building, and “A Working Project”, Gallery installation (July 7-25, 1992)
• Deborah Koenker, “Bar-ba-loot” (September 8 – October 3, 1992)
• Frances Grafton, “Stripped of Sense” (October 8-30, 1992)
• Patrick Mahon, “Spectacular Viewhome” (November 10-28, 1992)
• Clare Gomez-Edington, “Don’t Let Them See You Coming” (December 8-23, 1992)
• Julie Arnold, “List” (February 9-27, 1993)
• Holly Owen, “Les Demoiselles de la Transfiguration; How Will We Recognize our Allies?” (March 2-27, 1993)
• Andrew Forster, “my favourite things” (April 6 – May 1, 1993)
• Carol Sawyer, “Vessels” (May 11 – June 5, 1993)
• Sarindar Dhaliwal, “Heart, Home & Hearth” (June 9 – July 3, 1993)
• Ingrid Bachmann, “Berlin Stories” (July 6-31, 1993)
• Susan Stewart, “Lovers and Warriors: Aural/Photographic Collaborations” (October 2-30, 1993)
• Donna Nield, “Cicatrix” (November 9 – December 4, 1993)
• Kathy Slade, “by dint of groping” (December 7-31, 1993)

Subseries documents the curator files of Nancy Shaw, Director/Curator of the Or Gallery from June 1989 to July 1991.

Exhibitions represented in this subseries include:

• Roy Arden, recent work (June 6-24, 1989)
• Matt Crossin, “Matrices” (July 4-22, 1989)
• Joanne Tod, “Purple Heart” (October 3-21, 1989)
• Rodney Graham, “Are you a doctor, Sir?” (October 31 – November 18, 1989)
• Mark Lewis, “Tyrannies of Intimacy” (November 28 – December 16, 1989)
• Nancy Frohlick, “Site/Sight” (January 16 – February 3, 1990)
• Susan Kealey, “Revision” (February 13 – March 3, 1990)
• Wendy Elliot, “News” (March 13-31, 1990)
• Roy Kiyooka, co-curated by Artspeak and Or Galleries (May 8-26, 1990)
• Larry Cohen, sculpture (June 5-23, 1990)
• Roy Arden, “Frontenac” (August 16 – September 8, 1990)
• Brenda Petays, “Affectionate Objects” (September 11-29, 1990)
• Daniel Congdon, “Praktik” (October 2-20, 1990)
• William Nevens, paintings (October 30 – November 17, 1990)
• Lorraine Gilbert, “Allowable Cuts” (November 27 – December 15, 1990)
• Don Gill, “Sites of Production” (January 8-26, 1991)
• Jan Koot Westendorp, “The Garden” (March 6-23, 1991)
• Katherine Kortikow, “Cypher” (April 2-20, 1991)
• “Yellow Peril: Reconsidered”, co-curated with guest curator Paul Wong (May 10 – June 8, 1991)
• Philippe Raphanel, “Lip Sync” (June 18 – July 13, 1991)

Subseries documents the curator files of Phillip McCrum, Director/Curator of the Or Gallery from June 1987 to June 1989.

Exhibitions represented in this subseries include:

• Michael Lawlor, “Kitchen” (October 2-24, 1987)
• David Ostrem, “Psychedelic Pictures” (October 27 – November 7, 1987)
• Reid Shier, “Cartoons (November 24 – December 5, 1987)
• Ruth Scheuing, “13 Men: A Penelopean Approach” (December 8-19, 1987)
• Arni R. Haraldsson, Nan Legate, Eric Fiss, Michelle Normoyle, Cornelia Wyngaarden, “In the Vernacular”, guest curated by Petra Watson at the Arts, Sciences and Technology Centre (January 12 – February 13, 1988)
• Julie Duschenes and Mark Grady, “Dialogue”, guest curated by Todd Davis (January 4-30, 1988)
• Susanna Ruebsaat, “Silence vs. Voice: Speak No Evil” (February 2-13, 1988)
• Terry Ewasiuk, “Whos Eros” (February 16-27, 1988)
• Cheryl Sourkes, “The Environmental Unconsciousness” (March 22 – April 9, 1988)
• Persimmom Blackridge, Kris Bergthorson, Carol Williams, “Mayworks, A Festival of Culture and Working Life”, juried by Sara Diamond, Margot Butler, Elspeth Sage (May 7-28, 1988)
• Skai Fowler, “Presence/Observing” (May 31 – June 18, 1988)
• Michelle Normoyle, “Faithful Portraits” (September 21 – October 8, 1988)
• Erin O’Brien, “Object” (October 12-29, 1988)
• Ian Wallace, “New Work” (November 2-20, 1988)
• Robert Wiens
• Kris Bergthorson, “Broken Race” (February 14 – March 4, 1989)
• Kati Campbell, “Recent Work” (April 5-22, 1989)
• Reid Shier, Mina Totino, Michelle Normoyle, Stan Douglas, Erin O’Brien, Wendy Dobereiner, Henry Tsang, Phillip McCrum, Nancy Shaw, “The Vancouver Exchange” at the Cold City Gallery, Toronto (May 27 – June 21, 1989)

Subseries documents the curator files of Arni Runar Haraldsson, Director/Curator of the Or Gallery from November 1984 to December 1985, and James Graham, Director/Curator of the Or Gallery from January to October 1986.

Exhibitions represented in this subseries include:

• Mina Totino, “Stumps” (March 4-16, 1985)
• Phillip McCrum, “Simulacrum” (February 3-15, 1986)
• 25 Young Artists, curated by Petra R. Watson, international youth year project (February 17 – March 1, 1986)

Series consists of photographs taken by, or collected by, Sharron J. Simpson. Subjects documented include sawmill operations, 1999 reunion of former S.M.S. Ltd. employees, and the Okanagan fruit industry, as well as deliberate photographs taken preserving images of S.M.S. memorabilia.

Series consists of writing samples created by Sharron J. Simpson.

Series consists of materials documenting Sharron J. Simpson’s efforts to collect external information about various aspects of her family history centering mainly on the history of S.M.S. Ltd., but not including research particular to the Simpson Covenant, which is kept separate.
In addition to the collection of published materials (predominantly newspapers) the series also includes recorded oral histories and select transcripts.

Subseries consists of documentation of Crown Zellerbach Canada’s interactions with its workers, as well as their labour union, the International Woodworkers’ Association.
Subseries contains primary instance documents including forms (blank and completed), collective agreements, meeting minutes, seniority lists, job categorization lists, correspondence, committee rosters, contracts, bulletins, etc.

Subseries consists of partial documentation of the substantial forestry, logging, and sawmill operations conducted by Crown Zellerbach Canada (Southern Interior Wood Products) during the 1960s through 1980s. Predominantly, this subseries is comprised of prepared reports, prospectuses, industrial profiles, and descriptions of assets, work processes, and mill specifications.

Subseries consists of various artifacts in wood, metal, fabric, paper and other materials, generated in the normal pursuit of business by S.M. Simpson and/or deliberately created as souvenirs.

Subseries consists of various compiled manuscripts and informally published materials either relating directly to the historical narrative of S.M. Simpson Ltd. or to aspects of its operations.
Date range extends beyond the corporate existence of S.M. Simpson Ltd but is included in the series and parent series because of its pertinence to the company.

Subseries consists of contractor information, mill operations specifications and rules, notes, reports, customer and sales information, compiled descriptions of forestry sites, strategic planning, and geographical resources

Biographical sketch
Alexander Theodore “Sandy” Brent (1912-1990) was as lifelong resident of the South Okanagan. After the death of his mother in the influenza epidemic of 1918, he and his siblings (Frederick (Eddie), Mary, Alice, Margaret and Donald) were raised by his grandparents at the Shingle Creek Ranch. Brent married Harriet Morgan and together they raised two sons (Kenneth (b. 1942) and George (b. 1945). His sister Alice married Hal Tweddle; she and her family is photographically documented in the Richter and Tweddle families collection.
The Brent’s lived variously in Allen Grove, St. Andrews by the Lake, and Penticton. Sandy Brent worked in ranching, hard rock mining (Nickel Plate mine above Hedley), logging, and finally as a foreman and later superintendent for the Hatfield family’s Interior Contracting Company.

Scope and content
Subseries consists of recorded interviews and transcripts of recorded interviews. Not all audio recordings associated with transcripts are extant; likewise, not all audio tapes have an associated transcript. Content of interviews includes personal reminiscences, descriptions of photographs, and family histories. Subseries also includes a suite of interviews with his sisters, Alice, and Margaret.

This subseries contains newspaper clippings and issues, meeting minutes, and Seaholm's research notes about the Swedish Press, a newspaper based out of Vancouver, but published in Swedish. Subseries also contains microfilmed versions of issues of the Swedish Press (some under its Swedish title Svenska Pressen) from 1929 to 1956.

The subseries contains newspaper and magazine clippings, index card notes by Seaholm on Swedish Canadians and Canadian history, photographs of Swedish Canadians, a handmade manuscript compiled by Seaholm of a chronology of Swedish Canadian contributions to the development of British Columbia, and a miscellaneous collection of stories on immigration in America. Clippings are in English and Swedish.

Photographic prints, slides, maps, and documentation depicting objects and sites related to ancient Andean societies. Includes some materials regarding North America, mainly focused on cultures of the Northwest Coast.

Academic papers and exhibition catalogues associated with various writing projects. Some materials for the published works relate to museum exhibitions can be found within the curatorial sub-series. Some overlap with the research material series, particularly regarding material prepared by others for conferences (see files: 24-19-24-61). This subseries is concerned with Sawyer's work. At the same time, the publications in the research material series involve the work of others.

Provenance information, detailed inventories, conservation histories, sales and acquisition records, donation documentation and correspondence regarding exhibition and research of Sawyer's personal collection.

Appraisal reports, correspondence, photographs, and research regarding appraisals.

Landscapes showing developing infrastructure in the interior of British Columbia in the later 19th and early 20th century, with especially robust coverage of the construction of railroads and bridges, as well as some mining operations. Features group portraits of work crews.

Series consists of correspondence, financial records, architectural plans and designs relating to the University Gathering Place, once the UBC Faculty Club, at the Peter Wall Institute for Advanced Studies.

Note: The University Gathering Place is called the Leon and Thea Koerner Centre.

Subseries consists of bibliographic information on Bawtree, headshots, photographs depicting Bawtree’s time in government and his campaigns as well as pins, a cassette tape, letters, memorandums and speeches.

Subseries consists of a contract for two cattleguards and wing fencing, grazing permits, and correspondence.

Subseries consists of constituency membership lists from around the Okanagan/Shuswap for the Social Credit Party, a letter, a report, a pamphlet, a statement of votes and a receipt book.

Subseries consists of documents that contributed to Bawtree’s campaign in both 1975 and 1982 including correspondence, campaign posters, stickers, pamphlets as well as items such as Christmas cards and business cards.

Sub-series consists of five albums containing photographs of and related to the Victoria Lumber and Manufacturing Company, Limited. Includes many photographs of its construction, equipment, employees, a photograph of a parade float used in its fiftieth jubilee celebrations in 1939, one album of photographs of the Chemainus, British Columbia plant, and one album of active logging camps near the Chemainus plant.

Series also contains a history of the Victoria Lumber and Manufacturing Company, Limited, which includes photographs of its founders, important executive board members, and maps of areas where the Company was active.

Subseries consists of compiled assessment mechanisms for the SSCA, including surveys and questionnaires.

Subseries consists of submissions received by the SSCA, generally from external agencies, making appeals or petitions, or providing information of answers to questions. Organizations implicated include the United Fruit Growers, the National Farmers’ Union, the Consumers’ Association of Canada, the Committee for Collective Action (Castlegar), the BC Milk Board, the Farmers’ Institute, and other BC Government Ministries.

Subseries consists of reports issued by the SSCA, including the Chairman’s report. Some files include received reports from other agencies as part of larger information dockets. Includes reporting elements such as economics, subsidies and taxation, food service, fisheries, marketing and consumer affairs, agricultural production land use and access, and regional issues.

Subseries consists of numerous files originating from other creators and kept as reference materials. Files concern agricultural economics, production and land use.

Subseries consists records of the interface of Bawtree and the SSCA with the public, predominantly through the media. Includes press releases, interview transcripts, speech copy, draft articles and columns, and newspaper clippings.

Subseries consists of files pertaining to the organization and purpose, scope and objectives, overview and future of the SSCA.

Subseries consists of records concerning SSCA response to various issues, including controversies, challenges, critiques and other problems encountered by the SSCA. Files in this subseries may also be epistolary in format. See also: SSCA Correspondence (OSC ARC 18.2-02).

Subseries consists of transcripts and briefing notes pertaining to a series of local hearings throughout British Columbia, including in Richmond, Prince Rupert, Williams Lake, Cranbrook, Castlegar, Penticton. Vernon, Fort St. John, and Victoria. Names of persons and organizations participating in the proceedings are available in the file descriptions.

Subseries consists of correspondence received by the SSCA from individuals, other government bodies, and organizations. Areas of concern include land access and use as well as agricultural production of dairy, meat, poultry, and produce. See also: SSCA issues (OSC ARC 18.2-04) which covers response to controversy, which may have been initiated by correspondence.