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 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 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 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.

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.

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

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 publications and ephemera published and/or created by the Or Gallery, including: books sold in the Or Bookstore; Or Gallery newsletters sent to members; Or Gallery exhibition catalogues and booklets created as part of exhibitions; and ephemera created as part of various Or Gallery exhibitions, fundraisers, and events. It contains materials from the design process to the finalized, issued items.

Records include exhibition catalogues, programs, cards, flyers, posters, broadsides, newsletters, books, and other materials designed or produced by the Or Gallery.

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.

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.

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.

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.

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.

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 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.

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 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.”

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.

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 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.

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”.

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.

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 documents the installation, display, and reception of Or Gallery exhibitions and projects. It consists of materials created once the exhibitions are on display, and includes photographic documentation of exhibitions, press response, and assorted ephemera created as part of the exhibitions.

Records include photographic materials, ephemera, exhibition catalogues, press clippings, correspondence, guest books, and other material produced during the runs of Or Gallery exhibitions.

Materials are generally arranged in files according to curator, year, or exhibition.

Exhibitions curated by Laiwan represented in this series include:

• Ian Wallace, “At Work” (April 16-30, 1983)
• Mark Grady, “You could be one of us (Pantheon 2)” (September 2-14, 1983)
• Ken Lum, “World Portraits“ (October 3-15, 1983)

Exhibitions curated by Ken Lum represented in this series include:

• Julia Blushak, Arni R. Haraldsson, Laiwan, Sarah Leydon, Robert Mulvin, Don Murray, Mady No, “Or Bookwork”, co-curated with guest curator Laiwan (December 2-15, 1983)
• Roy Arden, “Photographs” (December 18-31, 1983)
• Evi Staikos, “Mythistorimata” (1984)
• Greg Snider, “A representation of the Great Lakes in inch and a half galvanized steel arranged in a space like this” (January 4-15, 1984)
• Jacques Andre, “Transitions” (February 3-14, 1984)
• Elspeth Pratt, sculpture (February 17-28, 1984)
• Ellen Ramsey, “Scanning for Recognizable Constructs” (March 20-31, 1984)
• Arni Runar Haraldsson, “Third Hand” (April 4-15, 1984)
• Coquitlam Senior Secondary students, “Poco Rococco” (June 1984)
• Mowry Baden, “Chicken Feed” (June 5-16, 1984)
• Works of conceptual art from the Collection David Bellman, guest curated by Ian Wallace (August 1984)
• Marian Penner Bancroft, “Transfigured Wood Part 2” (September 8-20, 1984)

Exhibitions curated by Arni Runar Haraldsson represented in this series include:

• Peter Legris, prints/photo collage (January 2-14, 1985)
• Mina Totino, “Stumps” (March 4-16, 1985)
• Stan Douglas, “Panoramic Rotunda” (March 18-30, 1985)
• Robin Peck, “Memorial” (May 20 - June 1, 1985)
• Michelle Normoyle, “Key Actions”, cibachromes (September 2-14, 1985)
• Garry Neill Kennedy, “Finchwell continued” (November 18-30, 1985)

Exhibitions curated by James Graham represented in this series include:

• Phillip McCrum, “Simulacrum” (February 3-15, 1986)
• 25 Young Artists, curated by Petra R. Watson, international youth year project (February 17 – March 1, 1986)
• Max Dean, “Prototype” (Project for Luminous Sites), one of ten luminous sites projects (March 6-29, 1986)
• Judson Beaumont and Patrick Foley, “Walls” (June 30 – July 12, 1986)
• Harold Herbert Eliot (1890-1968), “Painting against Time”, guest curated by John Anderson and Jennifer Kostiuk (July 1986)
• Howard Mussells (Quebec), “Caddis Case” (August 4-16, 1986)
• Roderick Quin, “Section D’Or, A Grey Scale Sunday on the Isle of the Grande Jatte” (September 1-13, 1986)

Exhibitions curated by Ellen Ramsey represented in this series include:

• Debra Klyman-Mowkszan, “Three Forms” (November 5-15, 1986)
• Arni R. Haraldsson, Roy Arden, Jeff Wall, Stan Douglas, Kati Campbell, Don Gill, Ian Wallace, Phillip McCrum, Sheila Hall, Katheryne Cowie, “Camera Works” (December 3-20, 1986)
• Warren Murfitt, “The Little Red School House” (January 7-17, 1987)
• Laiwan, “A mythology from the earth/modor” (January 21-31, 1987)
• Jack MacColl, new paintings (February 4-14, 1987)
• Daniel Laskarin, “Cromlech” (February 18-28, 1987)
• Gary Brooks, Keith Higgins, William Nevens, Adrian Walker, Daniel Jans, Barbara Miller, Nancy Shaw, Deanna Ferguson, Kathryn McLeod, “Work from the Centre” (March 11-28, 1987)
• Ann Kipling, David MacWilliam, John Scott, “Abstraction/Drawing”, guest curated by Gary Pearson (April 1-15, 1987)
• Catherine Jones, “One Painting Period” (May 13-23, 1987)
• Sara Beech, “Ordinary Things” (May 1987)
• Dave MacNab, Gary Ouimet, Bill Rennie, Garry Ross, Hillary Wood, Daniel Congdon, Sheila Hall, Catherine Jones, Warren Murfitt, Lorna Brown, Laura Lamb, Doug Munday, Reid Shier, Nancy Shaw, Deanna Ferguson, Kathryn MacLeod, “Grunt Or Artspeak”, curated by Glenn Alteen, Ellen Ramsey, Cate Rimmer, presented at Charles H. Scott Gallery (June 5-29, 1987)

Exhibitions curated by Phillip McCrum represented in this series include:

• Michael Lawlor, “Kitchen” (October 2-24, 1987)
• David Ostrem, “Psychedelic Pictures” (October 27 – November 7, 1987)
• Henry Tsang, “Victory Square” (November 10-21, 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)
• Dyan Marie, “Lodestone: an installation” (March 5-19, 1988)
• Cheryl Sourkes, “The Environmental Unconsciousness” (March 22 – April 9, 1988)
• Robin Peck, “Factory Model: Construction = Consumption” (April 12-30, 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)
• Carel Moiseiwitsch, “B/W Repro” (June 28 – July 16, 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)

Exhibitions curated by Nancy Shaw represented in this series include:

• Roy Arden, recent work (June 6-24, 1989)
• Matt Crossin, “Matrices” (July 4-22, 1989)
• Joanne Tod, “Purple Heart” (October 3-21, 1989)
• Terry Ewasiuk, “Company Types: Two New Sculptures” (September 5-23, 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)
• Skai Fowler, “Phryne” (April 10-28, 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)
• Andrew Levy, Jessica Grim, Melanie Neilson, David Sternbach, “Poetics Exchange”, Vancouver, New York, San Francisco (August 17-19, 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)
• Fran Benton, “Impositions” (February 5-23, 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)

Exhibitions curated by Susan Schuppli represented in this series 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)
• Gary Flook, “In Search of Someone Else’s House”, book work (January 30, 1993)
• 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)
• Wayne Arsenault, Deanna Ferguson & Philip McCrum, Frances Grafton, Lucy Hogg, Oliver Kellhammer, Katherine Kortikow, Sara Leydon, Carol Sawyer, Susan Shuppli, Reid Shier, Warren Murfitt, “Roadside Attractions”, artwork in eleven transit shelters (June 1993)
• Sarindar Dhaliwal, “Heart, Home & Hearth” (June 9 – July 3, 1993)
• Ingrid Bachmann, “Berlin Stories” (July 6-31, 1993)
• Laurel Woodcock, “bleuira” (September 7-25, 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)

Exhibitions curated by Janis Bowley represented in this series 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)

Exhibitions curated by Reid Shier represented in this series include:

• “Works: Or Gallery Retrospective”, organized by Wendy Elliott, Helen Geddes, and Frances Grafton (April 26 – May 2, 1996)
• Geoffrey Farmer, “Home Alone: Building Your Own Spaceship” (June 1-29, 1996)
• 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)
• Ron Terada, “Grey Paintings” (February 8 – March 8, 1997)
• 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)
• Jason McLean, Lisa Prentice, Brian Jungen, Christine Corlett, “Buddy Palace”, co-curated with guest curator Geoffrey Farmer (May 3-24, 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)
• Neil Wedman, “Every Bus Stop From My Place to the Race Track”, co-curated with guest curator Patrik Andersson (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)
• Brian Jungen, “Shapeshifter” (September 9 – October 14, 2000)
• David Carter, “Minimaler” (October 28 – November 25, 2000)
• Ron Terada, “Soundtrack for an Exhibition” (December 9, 2000 – January 14, 2001)
• 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)
• “Knock-off Knock-off” (May 8-18, 2001)
• David Ostrem, “Smash Your Face In - photos 1977-79”, guest curated by Roy Arden (May 26 – June 23, 2001)
• Myfanwy Macleod, “The Tiny Kingdom” (September 8 – October 6, 2001)
• Kyla Mallett and Allison Hardy, Zin Taylor, “Secondhand”, guest curated by Damian Moppett (October 13 – November 10, 2001)
• Michael Euyung Oh, “192 National Flags” (November 17 – December 22, 2001)
• Shannon Oksanen, “Spins” (February 16 – March 16, 2002)

Exhibitions curated by Sydney Hermant represented in this series include:

• 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)
• Maura Doyle, “The Money Collector” (September 6 – October 5, 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)
• Samuel Roy-Bois, “j'ai entendu un bruit, je me suis sauvé (I heard a noise and I ran)” (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)
• Kathy Slade, “I Want it All I Want it Now” (September 6 – October 11, 2003)
• Kerri Reid, “The Agony and the Ecstasy” (December 6, 2003 – January 24, 2004)
• Natasha McHardy and Marina Roy (February 7 – March 6, 2004)
• Derek Root, Tim Lee, Maura Doyle, Kathy Slade, Sarah Edmonds, and Shannon Oksanen, “Confidence” (March 10 – April 16, 2004)
• Holly Ward, “The Future is Now” (May 1-29, 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)
• Robert Arndt, Euan MacDonald, Kathy Slade, Ron Terada, Mungo Thomson, Kerry Tribe, Anne Walsh, Ed Ruscha, “2048 KM”, co-curated with guest curator Melanie O’Brien (October 16 – November 13, 2004)
• Doug Smarch, Jr., “Lucinations” (November 27, 2004 – January 15, 2005)
• Matilda Aslizadeh, “Office” (February 12 – March 12, 2005)
• Eleanor Morgan, “The Dreamer Fish”, curated by Michèle Faguet (March 19 – April 16, 2005)
• Vanessa Kwan, “Your Private Sky” (April 23 – May 2, 2005)
• Jen Weih, “The William H. Reynolds Rotunda” (June 4 – July 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)
• Sean Alward and Ryan Taber, co-curated with guest curator Philip Martin (September 10 – October 1, 2005)
• Leslie Grant and Al Bersch, Allison Hrabluik and Zin Taylor, Kathleen Ritter, Heather Docherty, Kevin Pollock, Shireen Taylor, “Arm in Arm” (October 15 – November 19, 2005)

Exhibitions curated by Michèle Faguet represented in this series include:

• Juan Cespedes, “Under Construction” (January 21 – February 18, 2006)
• Bas Jan Ader, Víctor Albarracín, Debra Baxter, Marianne Bos, Elkin Calderón, Dana Claxton, Derek Brunen, Wilson Díaz, Tomás Giraldo, Simón Hernández, Hadley + Maxwell, Khan Lee, Kelly Lycan, Juan Mejía, Jonathan Middleton, James Nizam, Anna Sew Hoy, Gabriel Sierra, Althea Thauberger, Francisco Toquica, Jeff Tutt, Giovanni Vargas, Rolando Vargas, and Neil Wedman, “Why I’m So Unhappy” (February 25 – March 25, 2006)
• Corin Sworn, “Adventure Playground”, curated by Corin Sworn (April 1-29, 2006)
• Instant Coffee, Jinhan Ko, Jenifer Papararo, Kate Monro, Jon Sasaki, and Cecilia Berkovic, Emily Hogg, Kelly Lycan, “One is Never Enough” (May 12 – June 10, 2006)
• Nicole + Ryan, “Sister, Sister” (June 24 – July 22, 2006)
• Phil Collins, “elm undo no escuchara” (September 9 – October 6, 2006)
• David Askevold, Stephan Dillemuth, Paul Gellman, Frauke Gust, Judith Hopf, Annette Kelm, Alice Könitz, Cristóbal Lehyt, Julie Lequin, Marriage (James Tsang/Math Bass), Reza Monahan, Arthur Ou, Katrin Pesch, Fredrik Strid, Stephanie Taylor, Michaela Wünsch, “New Ghost Entertainment-Entitled”, co-curated with guest curator Katrin Pesch (October 13 – September 11, 2006)
• Kristen Lucas, “If lost THEN found” (December 1, 2006 – January 13, 2007)
• 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)

Exhibitions curated by Jonathan Middleton represented in this series 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)
• Mark Soo, “Several Circles” (November 6, 2010 – January 29, 2011)
• Marina Roy, “What’s pushed out the door comes back through the window”, Or Gallery Berlin (December 4, 2010 – February 26, 2011)
• Matthew Buckingham, “Creative Destruction” (September 10 – October 22, 2011)
• Una Knox, 4 and a half feet to the left, behind me (April 14 – May 19, 2012)
• Mary Anne Barkhouse, Julie Andreyev, Bill Burns, “Facing the Animal”, co-curated with guest curator Tarah Hogue (May 26 – June 29, 2012)
• Duane Linklater, “Beothuck Building” (October 20 – November 24, 2012)
• Neil Campbell, Hanne Darboven, Nicole Ondre, Cheyney Thompson, “After Finitude”, co-curated with guest curator Eli Bornowsky (February 23 – April 20, 2013)
• Jacqueline Hoang Nguyen, Brian Jungen, Charles Stankievech, “Science Fiction 21: The Last Frontier”, curated with guest curator Candice Hopkins (December 14, 2013 – February 19, 2014)
• Jeremy Everett, Simone Jones, Richard T. Walker, Will Wilson, “Dust on the Lens”, co-curated with guest curator Michaela Rife (May 10 – June 28, 2014)

Series documents the process of curating exhibitions at the Or Gallery, from initial proposals and applications to exhibition installation. Records include artist proposals and applications, correspondence, photographic materials, exhibition condition reports, press clippings, grant applications, and other material documenting Director/Curators’ collaboration with artists to display exhibitions. Materials are generally organized in files according to exhibit.

Series is organized into nine subseries according to curator: Curator files, pre-1987; Phillip McCrum; Nancy Shaw; Susan Schuppli; Janis Bowley; Reid Shier; Sydney Hermant; Michèle Faguet; and Jonathan Middleton.

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 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 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.

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

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 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.