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Academic research records

Series documents Terry Simmons’ academic research, especially into environmental and international ecological issues, as well as Simmons’ collaboration with other researchers and involvement in various journals, conferences, and lectures. Topics researched include the High Ross Dam Controversy, the International Joint Commission, and water rights, among others. Some files contain Simmons’ research into Indigenous rights in these issues, including material regarding: Raven Tales of the Indigenous peoples of the Pacific Northwest Coast; Bernard Q. Nietschmann’s work on cultural geography and with the Miskito people in Central America; and Thomas Talbot Waterman and Alfred Kroeber’s cultural anthropology studies and work with Indigenous peoples in California.

Series consists of notes, accumulated copies of primary sources from assorted libraries and archives, grey literature, correspondence, articles, and other material arising from Simmons’ research and involvement in academia.


Series consists of panorama photographs and a photograph album containing miscellaneous photographs of Mason and Clayton, Wisconsin; Sandpoint, Idaho; and Chemainus, British Columbia. Panorama photographs are primarily of the Humbird Lumber Company’s Kootenai and Sandpoint, Idaho, pole yards and the Sandpoint plant yard. One photograph is of the Victoria Lumber and Manufacturing (V.L. & M.) company staff at a luncheon in Chemainus, BC.

Education Advisory Committee records

Series documents projects undertaken by the Education Library Advisory Committee to the Ministry of Education. The Education Library Advisory Committee’s aims were: to provide advice and assistance to the Ministry of Education on library matters are they relate to educational programs and facilitating the delivery of library services in the educational system; to respond to proposals on library matters received by the Ministry as requested; and to bring to the Ministry’s attention library matters related to the effectiveness of the provincial education library system.

Series consists of records created by Education Library Advisory Committee sub-committees aimed at the creation of a B.C. educational library consortium and an interlibrary loan (ILL) network. It includes proposals, reports, manuals, memoranda, and other material created in the course of these projects.

Management Indicators Project records

Series documents the Management Indicators for British Columbia College and Institute Learning Resources Centres Project, an initiative undertaken from 1977 to 1981 by the Council of Post-Secondary Library Directors (CPSLD) College Library Standards & Accreditation Committee and its Sub-Committee on Role Definition. Initially called the “Standards for B.C. College and Institute LRCs,” the project was initiated to draft standards (also referred to in the records as “guidelines” and “management indicators”), role statements, and a working definition of the term “Learning Resource Centre” (LRC) in the B.C. post-secondary context. CPSLD considered updated standards imminently necessary due to shifting budgetary and reporting procedures triggered by the Colleges and Provincial Institutes Act of 1977 and the allocation of LRC funding to the Management Advisory Council in November 1978. The project developed quantitative criteria based on the following six areas to inform standards: budget, collections, staff, services, A/V equipment, and facilities. A report on Phase I of the project, which gathered and analyzed material relating to community college standards and their development, was submitted by W. E. Hanafi and B. E. Husband in January 1979. This report was followed up by an interim report in January 1980 and final report in 1981, both by R. J. Welwood, which assessed individual B.C. LRCs compare to established standards and modified these standards for B.C. institutions.

Series consists of material created and gathered by the Management Indicators for British Columbia College and Institute Learning Resources Centres Project between 1977 and 1980. It includes standards, reports, budgets, questionnaires, role statements, notes, correspondence, and other material relating to Canadian and U.S. LRCs for the project.


Series documents the administration of the Mid-Island Diversion Programme. It includes manuals detailing the procedures and processes of the Mid-Island Diversion Programme, correspondence and contracts with other organizations and governmental bodies (e.g., the Crown Counsel, RCMP, other diversion programmes), studies on diversion, reports, monthly and annual statistics, and other material created as part of running the programme.

Case files

Series consists of a sample of case files and rejection files of Mid-Island Diversion Programme clients. Case files document a client’s participation in the programme and contain the following material: personal information sheet, police record, running record sheet, letters of apology, general correspondence, and/or closing report. Rejection files consist of some combination of the following material: personal information sheet, police record, running record sheet, general correspondence, and/or statement of rejection from the programme.

Test Series 3

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Personal files

Series consists of Mary Bishop’s personal and family-related records. It contains personal correspondence; newspaper clippings; honours and honourary degrees received by Bishop; and records related to her involvement in the University Women’s Club of Vancouver.

Bishop, Mary F.

Volunteer involvement

Series reflects Mary Bishop’s volunteer service and membership in the various organizations she was connected with. The series is arranged into four sub-series according to the organizations in which she took part: International Planned Parenthood Foundation (IPPF); Planned Parenthood Federation of Canada (PPFC); Planned Parenthood Association of British Columbia (PPABC); and other volunteering and organizational membership.

Records contained within this series include organizational records of these various groups (such as meeting minutes, reports, financial records, and correspondence), as well as newspaper clippings, marketing and communication materials, brochures, and pamphlets.

Bishop, Mary F.

Population and family planning research

Series documents Mary Bishop’s interest in and research about social and political issues surrounding family planning, access to birth control, abortion, and population planning. Bishop maintained a series of subject files on these and related topics, with a particular focus on the history of the birth control movement in Canada. As part of her research, she also conducted interviews with individuals connected to this history, including physicians, religious leaders, and women and couples. Series contains 6 sub-series, which are based on the organization of the records and the creator-supplied index (see file 30-09 in the records): Subject files, Abortion, Population – Canada, Writing and publication, Population, and Interviews.

The records contained within the series include a large quantity of newspaper clippings and magazine articles, as well as reproductions of archival materials held in other repositories; government publications; reports; correspondence; interview transcripts; research notes; and draft (and unpublished) articles and speeches written by Bishop.

Bishop, Mary F.

Ecological Reserves Supporting Records series

Series includes records relating to the selection and confirmation of Ecological Reserves in BC. The records present in this series include correspondence, memorandums, meeting addresses, lectures, briefs, surveys, reports, “dead applications,” news clippings, Orders of the Lieutenant in Council, booklets, pamphlets, programs, check sheets, aerial photographs, park proposals, handwritten notes, and meeting minutes. Reports and check sheets on Ecological Reserves 1-39 are found throughout the records in the supporting records series. In addition, some of the reports in this series address the progress of the Ecological Reserve program in BC. Boxes: 4-8.

Publications and ephemera

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.

Vancouver Anthology

Series documents the editing, design, and publication of Vancouver Anthology, an anthology of essays published by the Or Gallery. The collected essays by Stan Douglas, Keith Wallace, Sara Diamond, Nancy Shaw, Maria Insell, William Wood, Carol Williams, Robin Peck, Robert Linsley, Scott Watson, and Marcia Crosby were first presented in Fall 1990 as part of a lecture series entitled Vancouver Anthology: Lectures on Art in British Columbia, in which the authors presented their research in a forum to the local arts community before their papers were sent to print. The papers documented a range of Vancouver cultural practices, including the emergence of artist-run centres, experimental performance and video, feminist activity, collaboration, sculpture, painting, art criticism, and conceptual art and landscape, as well as critical reflections on perceptions of Indigenous peoples’ cultures. Vancouver Anthology was first published in 1991 and re-published in its second edition in 2009.

Records consist of proofs, mock-ups, photographic materials, correspondence, and other material relating to the production of Vancouver Anthology’s first and second editions.


  • Series
  • [between 1985? and 1987]-[between 2006 and 2009?]
  • Part of Or Gallery fonds

Series documents the Or Gallery’s administration and operation, including its planning for various fundraising events. the Or Gallery’s Records include minutes, policies and procedures, correspondence, and other material documenting the administration of the Or Gallery as an organization and operations as a physical space.

Curator files

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.

Exhibition records

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)

Architectural Drawings

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.

Domestic Abuse of Women and Children series

Series consists of a complete draft of the report entitled: Battered and Blamed: A Report on Wife Assault from the Perspective of Battered Women, co-authored by the Women's Research Centre and the Vancouver Transition House in November 1980. The report is based on a combination of case studies and surveys. At Vancouver Transition House and Munroe House, a second-stage housing facility and subsidiary of the YWCA, a Christian-based organization that provided financial resources and administrative support to Munroe House, women were interviewed individually and asked to fill out questionnaires on themselves, their spouses, and their children to construct a profile of battered women and their experiences. Transcripts of the women's responses were recorded in writing and included as a permanent record. In addition, interviews were conducted over the telephone and in person. The study's goal was to gather information on domestic violence from the perspective of women. However, the Women's Research Centre also looked at how women's shelters assisted women once they reached a transition house by conducting interviews with the staff members who ran them.
Additionally, the Women's Research Centre examined the responses of various levels of Government, Social Services, private-practice physicians, hospitals, out-patient units, school programs, clinical nurses, community care teams, obstetrical nurses, pre-natal teachers, and clinical psychologists to the issue of domestic violence and children. Furthermore, the report examined the circumstances behind domestic violence, the consequences of this abuse, and how best to deal with it. Finally, it concluded by offering a summary of the report, a conclusion of the findings, and future recommendations. Series includes original research proposal, budgets, four large flip-chart sheets of paper used in Women's Research Centre workshops, "Herstory of Transition House / Women's Research Centre Project," handwritten and typed notes, agendas, project outlines, statistics, charts, interview guides, research guides, self-evaluation guidelines, evaluation sheets, file sheets, interview transcripts, correspondence, draft reports, various reports concerning Transition House and Munroe House, Transition-House and Munroe-House residents, and Transition-House and Munroe-House staff, completed and blank questionnaires, project reviews, literature reviews, research project statement of purpose, hard copies of various presentations, pamphlets, articles, fact sheets, invoices, purchase orders, address lists, financial ideas, meeting minutes, grant proposals and funding requests, memos, news reports, seminar registration forms and attendance sheets, worksheets, various theoretical models, and a glossary of legal terminology.


Series consists of manuscripts by various authors about labour history in BC and Canada. Contents include books commissioned or created by various BC labour union locals, a graduate thesis by Patricia Gwen Atherton, a bibliography, newsletters, pamphlets, clippings, and calendars. Manuscript unions and locals include the United Brotherhood of Carpenters and Joiners, the Pacific Reforestation Workers Association, the International Union of Mine, Mill, and Smelter Workers, the BC Government Employees Union, and the Marine Workers and Boilermakers Industrial Union (Local No. 1), among others.

Operational Records

Series consists of the operational records of the Centennial Labour Committee and Centennial Commission. Contents include correspondence to and from various committee and commission members including Bill Darnell and Pam Tranfield, mailing lists, notebooks, financial records, project planning files, working papers, minutes, memoranda, agendas, pamphlets, posters, scripts of talks and guided tours, and other publicity materials.

Professional Documents and Other Materials

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.

Slides and Photographs

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.

Swedish-Canadian Culture and History

Series consists of records about Swedish migration to and within Canada and Swedish-Canadian cultural life. Records include clippings about Swedish Lucia holiday celebrations, manuscripts and research about Swedish-Canadian history, including song books and writing on Swedish literature in BC, and correspondence and rental receipts concerning Swedish film showings in BC, Alberta, and Saskatchewan. Materials related to the operations of the Scandinavian School of English, including photographs and sets of English vocabulary and grammar cue cards, are also included. An album containing photographs of Swedish-Canadian migrants with handwritten notes is included.

The Pocket Desert Production files

The series consists of recorded interviews and supporting documentation. Sound recordings feature interviews with experts, including Dr. Jeanette Armstrong, and Dr. Geoffrey Scudder. Further contributors are Elder Delphine Derickson of the Westbank First Nation and Herman Edward of the Lower Similkameen Indian Band. Production notes from 1993-2007 are also included. The textual documents contain articles relating to the creation of a documentary, interview notes and correspondence between producers. Also included are newspaper clippings pertaining to the geography and ecology in the Osoyoos and South Okanagan area. Brochures advertising Ideas on CBC Radio include a programming schedule as well as brief description of The Pocket Desert.

Journals and writings

The series consists of Journals and personal writings based on practical, historical, and political concerns.


Series consists of miscellaneous objects, including a program for the 1977 Academy Awards, a liquor permit for 1946-1947, several tags for Christmas gifts signed by Lowry, jewelry given to Margerie Lowry by Malcolm Lowry, and a cigarette case and lighter set owned by Malcolm Lowry.

Elizabeth Raum

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 consists of correspondence, manuscripts, book reviews, and book sales relating to anthologies edited by Tom Wayman, including the Minnesota Review, The Sphinx (University of Regina), and Beaton Abbots Got the Contract.

Swedish Canadian research material

During the 1960s, Seaholm received a grant from the New Horizon program to write a history about Swedish immigration to Canada. Although he never finished writing a book about this topic, this collection contains much of his research related to this ambition. The collection consists of correspondence, reports, minute books, newspaper and magazine issues and clippings, periodicals, books pertaining to Sweden and/or Swedish immigrant history, and research material about Swedish activities in North America. The series also contains a photograph collection of the Swedish community in British Columbia.

The series contains eight subseries: General research material; Photo collection; "They left something behind" collection; Book Collection; Swedish Pioneer Historical Quarterly periodicals; The Bridge (Brggyan in Swedish); Swedish Press Publishing Company; and Newspaper clippings and miscellaneous articles.

Test Series 1

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Labour Advocacy and Research Association

Series contains promotional and educational materials, administrative records for LARA, project files, and newspaper clippings. Rachel Epstein was involved in establishing LARA. She began working with immigrant domestic workers through a Company of Young Canadians where she met with domestic workers and learned about their lives, the poor quality of their working conditions, and the uncertainty of their immigration status. Epstein helped domestic workers in Vancouver to organize and, through LARA, helped lobby the provincial government for changes to labour legislation to include and protect domestic and farmworkers.

Series contents include: promotional and educational materials (pamphlets, posters, and information booklets), administrative records (incorporation documents for LARA, meeting minutes, correspondence, fundraising and endorsement solicitation and receipt, and an application to Young Canada Works), individual project files (slide tape program, community awareness program), and several files relating to the establishment of the Farmworker Legal Information Service (FLIS).

Family photographs

Series consists of photographs taken by and of the Whitham and Zoellner family members. Photographs depict subjects such as Dorothy Whitham-Zoellner and family, J.G. Whitham, George Leonard Zoellner and Blanche Hart, J.D. Whitham and Florence Bartlett Clements, and some unidentified portraits. Other photographs show various scenic locations around the Okanagan. Some photographs have been pasted onto pages and have not yet been separated.

Family correspondence

Series consists of correspondence records from the Whitham, Clements, and Zoellner families. Correspondence includes those that were received by various family members as well as those that were sent among family member. Series includes records such as letters, postcards, official documents, and ephemera. Some photos are pasted into pages of text and have not yet been separated. All photos, even those associated with correspondence files have been numbered as part of the family photographs series (12.2).

Poetry series

Series consists of correspondence, manuscripts, legal agreements, royalty statements, financial statements, and book reviews relating to Wayman's poetry.

Professional activities series

Correspondence, reports, notes, photographs, and conference materials related to Sawyer’s professional activities as an educator, writer, curator, and independent consultant, as well as documentation and photographs associated with the administration of the Sawyers’ collection in terms of its use in exhibitions, its exchange/sale/donation, its appraisal, and provenance. Items in Box 64 were acquired in 2021. Items in Box 65 were acquired in 2022.

Visual materials series

Photographs (prints, slides, transparencies and negatives), drawings, and published and unpublished maps. Series is divided into subseries: Americas, Africa & Oceanic, and original negatives. Visual materials can be found in other series, notably in the professional activities and research materials series. Items in Box 64 were acquired in 2021.


Series consists of records related to Narver’s undergraduate or graduate studies, quasi-professional correspondence, and records related to his post-retirement life. Contents include: handwritten notes from undergraduate or graduate level university courses taken by Narver; correspondence with various individuals and organizations, all related to fishing, fisheries, and fish in some capacity, though not written by Narver in his official roles; transcripts and notes from speeches and presentations given by Narver, including the Living Blueprint Salmon Habitat Action Plan, or given by others and collected by Narver; and a typescript of Narver’s 2010 book, What Did You Do In Alaska, Grandpa? Seven Summers in Alaska: Salmon, Bears and Untouched Wilderness, with handwritten annotations. Photographs are mostly of posters and displays produced by the BC Fisheries and Wildlife Branch about salmonid and stream ecology.


Series consists of records related to Narver’s three-decade career, including in his capacity as Anadromous Fisheries Coordinator, Acting Chief of Fisheries Management, and Director of the Fisheries Branch (alternately Director of the Recreational Fisheries Branch). Contents are primarily reports (research and administrative), correspondence, and transcripts of presentations and speeches. Reports include research findings, mostly concerning Steelhead Salmon, and planning and policy documents prepared by Narver and others for the Provincial and Federal governments. Minutes of Fisheries Branch meetings are also included. Correspondence is primarily with other researchers, though some from his time working for the Ministry of Environment are with members of the public concerning various Ministry initiatives. Some press coverage of the Carnation Creek research and rehabilitation project, which Narver headed, is included. Presentations and speeches by Narver generally concern Narver’s area of specialization, salmonid conservation and stream ecology, with a selection concerning recreational fishing. Speeches not by Narver cover a variety of subjects related to his professional area of expertise in some capacity. The series also contains materials related to Narver’s posting at the New Brunswick Federal Biological Station, where he was stationed in the early 1970s for professional development purposes, largely to increase his knowledge of Atlantic Salmon. New Brunswick records include photographs, research reports, and a personal notebook. Photographs are predominantly charts and graphs of research data, with a minority of personal photographs of unknown individuals, mostly at rivers or lakes outdoors.

Postdoctoral Education

Series consists of records related to Narver’s postdoctoral research, predominantly from his time working at the Federal Biological Station in Nanaimo, BC, and Chignik, Alaska, while a student at the University of Washington. Contents include professional correspondence, primarily to other researchers, and PhD thesis work, including a bound manuscript of his final thesis.

Sofia Girls' Tour

Series consists of correspondence about planning for, posters and other promotional materials about, and photographs of the Sofia Girls’ Rhythmic Gymnastics Team’s tour of Canada in 1956-1957, which Matthew Lindfors was partially responsible for coordinating. The Sofia Girls’ Team were a gymnastics group from Stockholm, Sweden. The group was founded and led by Maja Carlquist, who developed the distinct style of rhythmic gymnastics performed by the Sofia Girls. Contents include: posters, pamphlets, photographs of events and head-shots of the team members, a Swedish Canadian Club book about the tour, and three wooden printing blocks of photographs of the team members performing.

Press Publications and Correspondence

Series consists of records related to news articles and news radio transcripts, many written or produced by Matthew Lindfors or related to Swedes in Canada. Records are primarily newspaper clippings and correspondence with Matthew Lindfors from friends, government and cultural groups in Canada and the USA, and individuals concerning the history of Swedish migration in North America. Also included are articles and research for articles for the Swedish Press, correspondence about subscriptions to the Swedish Press, lists of addresses of Swedish Press subscribers, and transcripts of CBC radio broadcasts. Lindfors worked for the Swedish Press for several years and wrote and produced several broadcasts on Swedish Canadian history for the CBC. Subjects of clippings include Swedish industrialist Wenner-Gren, several trips Matthew Lindfors took to Sweden, and stories about Swedes in Canada and the USA.

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