This subseries is made up of Banana’s long running Banana Rag newsletter, which she began in 1971 to provide the general public with information about her activities as Victoria Town Fool. Over the years, it became a means for her to provide information about her mail art activities, and the newsletter itself became a central part of her network presence. It also provided subscribers with information about other mail art opportunities, trends, or exhibitions.

This subseries contains copies of the newsletters, as well as an inventory of the newsletters, some original markups and pasteups, and information about subscribers.

Subseries contains some parts of Anna Banana’s Encyclopedia Bananica, which was made up of Anna’s collection of banana related stories and factoids, which were collected over the course of her activities as Anna Banana. Many of the banana related items were given away in the “Regifting Banana” event which Banana held in 2015, but the files in this series were retained, and are likely mere samples of what was once a much larger collection of information.

Items in this subseries include binders with specific stories or projects, and files with other artworks and compiled banana information.

Subseries is made up of Anna Banana’s VILE Magazine and related items, notably two copies of each magazine, as well as related press, ads and promotional materials. VILE Magazine was a response to FILE Magazine (published by General Idea) and it’s movement away from the mail art scene towards more mainstream artistic practice. VILE ran somewhat irregularly from 1974 to 1983, culminating in a retrospective magazine titled “About VILE”. Like FILE, VILE was an artistic parody of LIFE magazine, but often covered challenging subjects, and pushed beyond the sensibilities of conventional thinking. Banana was aided by her then-partner Bill Gaglione, who edited 3 of the 7 editions.

Files contain all issues of the magazine, as well as various press clippings, ads, promotional materials and invitations to participate.

Subseries contains records of numerous small performances by Banana from the 1970s to the late 2010s. Banana saved only the planning documents, promotional materials or press from these art pieces, which often only hint at what was performed or produced. Some examples include her Town Fool activities, Going Bananas Fashion Contest and First Female Pope performance.

Subseries contains mostly flyers, notes and letters, photocopies, posters, and other printed matter, as well as a fruit hat used in an unknown performance.

In 2015, Anna gave away all of her banana items in an interactive event called “Regifting Bananas.” Each giveaway was accompanied by documentation of what was given away, and to whom. There was also an inventory of banana items for regifting.

Subseries consists of textual records, mainly the inventory and records of regifting.

A Condensed History of Performance Art was a program put on by Anna Banana in the early 1990s as an introduction to performance art. It was performed for the Aspects of Performance Art series by the Canadian Centre of the Arts at Owen Sound in 1992. Series consists of textual records in the form of scripts and draft scripts, press clippings, research notes, as well as Anna’s initial correspondence regarding performance logistics and programs for the Aspects of Performance Art performance series.

Subseries is made up of documents relating to the production of The WORLD SERIES, a play created by Anna Banana and Ron Brunette in 1987, and performed at Western Front. It was a scripted performance exploring issues relating to globalization and consumerism. Subseries consists of mostly textual materials, including slide information, lighting and audio cues, script development, tv production information, typesetting, photographs and other materials.

Subseries captures Anna Banana and Bill Gaglione’s “Futurist Sound” performances, which were essentially performances of various Italian Futurist performance art pieces, such as Sounds by Francesco Canguillo and Colors by Fortunato De Pero . The two of them went on a number of tours with the performances, including one in Europe in 1978 and across Canada in 1981.

This series consists of mostly textual records, including itineraries, programs, posters, and planning documentation, as well as various small props used in the performance.

With Victoria Kirby, Anna Banana created and performed “In the RED” for InterDADA ’84, a large gathering of neo-dadaists in San Francisco, and at Humbolt University in 1985. “In The BLACK” arose from this performance and was performed later on. These were scripted stage performances by Anna Banana and Victoria Kirby, that explored colour. Banana called the interDADA ’84 performance “the most DADA performance I’ve ever given in my career” in her “Excerpts From a Mail Artist’s Diary” for Lumholt Mail Art Archive.

This subseries consists of documents relating to these performances, including press, scripts, promotional materials, and various drafts and cue sheets.

Subseries contains files from various small Specific Research Institute projects conducted by Anna Banana, between 1993 and 2015. Many of these were small surveys of “Banana Culture” which Banana carried out while she was staying in certain regions or cities, as well as newsletters and updates regarding SRI activities.

Files are made up of textual records, mostly newsletters or reports, as well as some posters and response forms.

Subseries arose out of an interactive project that Banana conducted out of Germany in the mid-1990s through her Specific Research Institute called “Proof Positive That Germany is Going Bananas” (often shortened to PPTGISB). Using results from what Banana called “Roar Shack Banana Peel Tests”, as well as personality inventory response forms, interviews and other tests, Banana culminated her research into a large report and exhibit of German banana related items published in 1994.

The series consists of tests, reports, press and promotional materials, as well as banana artworks and correspondence that Anna collected over the course of her travels for this project.

Subseries consists of documents relating to an interactive art project called “But Is It Art?” that Banana carried out throughout various European cities in the late 2000s and early 2010s. Under the auspices of the Specific Research Institute, Banana (in her role as Dr. Anna Freud Banana) would ask participants to show if various (often banana related) items were, in fact, art.

Subseries contains response forms arranged into various city files where Banana conducted her research, as well as travel ephemera, reports, posters and programs, as well as exhibition documents related to the project.

Subseries originates with Banana’s earliest performance art while she was Victoria’s Town Fool. It consists of various certificates in bananology (including bachelors and masters degrees) which Anna would give out to individuals who had “Gone Bananas”, often after providing Anna with a piece of Banana paraphernalia or a Banana-related fact or story. This activity often took place within the context of her mail art actions, where she would mail the certificates back to networkers who had provided her with banana-related mail. However, it began while she was still Town Fool, prior to or concurrent with her entry into the mail art network.

The subseries consists almost entirely of various certificates, as well as letters to correspondents.

Subseries is made up of envelopes, collected between 1978 and 2018. While it is uncertain why envelopes were separated and maintained as a separate series, although it is likely some were used for in various shows as examples of Mail Art. Envelopes played a large part in many mail art shows and often the subject of shows themselves. They are important mediums in the proliferation of mail art in all periods.

Envelopes are often heavily decorated with artistamps, rubber stamps, paintings and drawings, and other materials.

Subseries is made up of miscellaneous boxes of mail art and other related items which Banana collected or received but did not file over the course of her career. Many of these items were set aside in boxes for future filing, or it was noted that items were unanswered. “unanswered correspondence” (dated 1985-1986) previously had a tag line “stashed in ‘86”. “UNANSWERED MAIL ART” was noted to have been boxed in 1998.

Materials include show catalogues, posters, invitation letters, postcards, zines, envelopes, facsimiles, artistamp sheets, news articles, maps and travel guides, photographs, and graphic materials.

Subseries includes records of invitations and catalogues Banana received for various mail art shows and publication over the course of her involvement with the Mail Art Network, as well as some works which she compiled for inclusion in those shows. This includes letters of invitation directly addressed to Banana, open calls for submission, lists of participating artists, show posters and booklets, and packets of mail art sent for specific shows or publications.

Materials include show catalogues, posters, invitation letters, postcards, zines, envelopes, and graphic materials.

Subseries reflects Anna Banana’s separation of personal correspondence from her mail art network activities. Correspondence from some individuals located in this subseries can also be found elsewhere, and much of her personal correspondence might also be considered mail art. The series was created between 1967 and 2016. Much of the correspondence is made up of greeting cards from friends, letters to and from family members, as well as correspondence relating to Banana’s romantic endeavors.

The series arises out of distinctions that Banana made in her own filing system and has not been changed. It is generally made up of textual materials such as letters, cards, postcards and envelopes, but also contains graphic and photographic materials.

Subseries was created from 2008-2016. It is made up of mail art and other correspondence received by Banana through the Mail Art Network during this time. This subseries contains some of Banana’s last interactions with the mail art network, and Banana’s interactions with existing friends and colleages continue to predominate its contents.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries was created from 2004-2008 while Banana was living on the Sunshine Coast. It is made up of mail art and other correspondence received by Banana through the Mail Art Network during this time. A significant portion of correspondence in this series are between Banana and existing friends and colleagues who have continued to engage with the mail art network, albeit a different looking network to the one that had existed previously.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries was created between 2000 and 2003. It is made up of mail art and other correspondence received by Banana through the Mail Art Network during this time. Discussions of the validity of mail art online continue. Banana keeps fewer correspondents during this period and beyond, focusing much of her energy on maintaining existing relationships.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries was created from 1999-2000. While the internet had been present previously, more and more correspondence is conducted virtually during this period, with discourse occurring which questions the validity of email as “true” mail art, which is reflected in much of the material. Printing also becomes a digitally sourced endeavor, with more mail art reflecting access to stylization made available with programs like Microsoft Word and Adobe Photoshop.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes. Banana would often print out emails as well, especially those which were distinctly related to the question of mail art and its transition into a digital sphere, and received much correspondence and art obviously created through digital means.

Subseries was created and collected from 1992 to 1994. The contents differ little from that of 1990s Mail Art (Part 1), and continues to reflect Banana’s involvement in later stages of the mail art network.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries contains mail art and correspondence received and created by Banana through the 1970s, 80s, and early 90s. This period is marked by her engagement with the early Mail Art Network, including prominent artists and networkers such as her then partner Bill Gaglione (later Picasso, also known as Dadaland), Ray Johnson, Guglielmo Cavellini, Buster Cleveland, Irene Dogmatic, Pat Travenner, Art Rat (aka Gary Lee-Nova), Judy Hoffberg, General Idea, Dick Higgens and others.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

Subseries was created and collected from 1992 to 1998. Banana at this time continues to collect and engage with mail art, but also was beginning to shift towards a practice which could provide her with a more stable income, therefore restricting her mail art activities to active subscribers of her various publications. During this time, the scope of the mail art network is shifting. While many influential network pioneers were dying, including Cavellini in 1991, Ray Johnson in 1995, and Partz and Zontal of General Idea in 1994, many other artists shifted their focus elsewhere, causing mail art to change. Many networkers also attempted to sell their archives or determine ways to make a living off their network of artist correspondents, which is also reflected in Banana’s mail art and correspondence activities. Significant discussions about the role (and erasure) of women in histories of mail art occur at this time, and Banana is often central to these discussions.

Items in this subseries are predominantly letters and envelopes, often decorated, but also include photographs, drawings, xerox art, found objects and small sculptural items, collage, and other visual mediums, often integrated into the letters and envelopes.

The subseries contains materials related to the activities of IBEW Local 213 between 1949 and 1991, predominantly between1949 and the mid-1970s, including affidavits, reports, correspondence and newspapers. Documented within the subseries is the internal conflict between the IBEW’s American leadership and trade union activists within Local 213, and attempts to unite IBEW Locals in British Columbia through a provincial council. Also contains numerous issues of IBEW Local 213’s newspaper, the 213 Live Wire, between the mid-1950s and mid-1970s, grievance reports and ephemera from the 100th anniversary of the first annual convention of the IBEW of America, celebrated in 1991.

The subseries contains materials collected by and about Les McDonald including notebooks on his union activities and his participation at the Community Party Education Camp in 1964, newspaper articles he wrote, documents related to the appeal of his suspension from IBEW Local 213, personal correspondence and photographs of IBEW Local 213 members engaging in a job action in 1965. In particular, there are a large number of postcards that he sent to his mentor, Bill Stewart, while McDonald was traveling in his bid to get the sport of triathlon into the Olympics. The subseries also contains an article Les McDonald wrote about his ascent of the North Arete in 1962 and a notebook related to the Yukon Alpine Centennial Climb conducted in 1973.

The subseries contains materials collected by Alfie Huston, who served as the President of the International Brotherhood of Electrical Workers (IBEW) Local 213 from 1985-1988. Materials include correspondence, newspaper clippings, convention reports, minutes, affidavits, court orders, settlement agreements, campaign materials, business office reports, newsletters, financial reports, discussion papers, safety bulletins, organizing committee resolutions, telegrams and membership lists.

The subseries contains newspaper clippings, pamphlets, official correspondence, bulletins and other ephemera collected by Barry Sharbo, who was the spokesperson for the breakaway movement from IBEW Local 213 in 1967 which would eventually become the Canadian Union of Electrical Workers (CEW/CEWU/UE). Also contains a copy of the CEW's constitution and a proof copy of the first issue of Live Wire, the CEW's newspaper.

The subseries contains materials collected by Art O’Keeffe, former business manager of the IBEW Local 213, including correspondence and legal documentation regarding his suspension from the union following the Lenkurt strike in 1966. Also contains newspaper clippings and court case summaries, some of which may have been added later by Ian McDonald.

Sub-series contains materials relating to Oberlander’s federal election for a Vancouver South parliamentary seat with the Liberal party. Oberlander was unsuccessful in his bid for the seat. Materials include, speeches, notes, correspondence, clippings, publicity materials, newsletters, liberal party
memoranda and other materials on the North Fraser Harbor Commission.

Materials on digital media are currently being reviewed, and further information is pending. Subseries include both documents and photographs. Four floppy discs may also be found in the Lectures, Conferences and Writings subseries.

Subseries consists of drafts, essays, notes, clippings, correspondence, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work for the Federal Government of Canada. Also includes materials relating to Oberlander’s work with the Ministry of Town and Country Planning in the United Kingdom. Oberlander was there as a part of the Canadian National Research Council in the post-World War II period.

Subseries consists of meeting minutes, agenda, correspondence from the Applied Planning Assistant Program Advisory Committee Meeting, and program and college information from H. Peter Oberlander’s time as chair of the Committee.

Sub-series consists of correspondence, agendas, maps, reports and other materials related to Oberlander’s time in the President's Advisory Committee on Campus Enhancement at the University of British Columbia.

Sub Series consists of correspondence, reports, travel records presentation notes, architect portfolios and a contract related to Oberlander’s time as an Associate Planner with DA Architects & Planners in Vancouver.

Sub-series consists of materials relating to degrees or awards given to Oberlander. Titles for these include Order of Canada, an Honorary Doctorate from UBC and the Queen’s Golden Jubilee Medal among others.

Subseries consists of textbooks, magazines, periodicals, proposals and reports, documents, and plans collected by H. Peter Oberlander during his professional career.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work for the Provincial Government of British Columbia and the GVRD.

Subseries consists of reference materials, research and reports, citizenship programs, correspondence, citizenship promotional material, and meeting minutes and agenda from H. Peter Oberlander’s time as a Citizenship Court Judge.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional contribution to Vancouver Community College.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work with the Vancouver School Board.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, maps, and development plans relating to H. Peter Oberlander’s professional work with Community Planning Consultants Ltd. Included with this sub-series are 15 architectural drawings of an apartment house layout drawn by Cornelia Hahn Oberlander for Peter Oberlander Consultancy, 1953.

Subseries consists of drafts, essays, notes, clippings, correspondence, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work with the United Nations, including the Habitat I and Habitat II conferences. Records relating to the Habitat II conference are also found in the Human Solidarity subseries.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps and a political cartoon relating to H. Peter Oberlander’s professional work with Harry Seidler.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work with Banff, Alberta Planning and Development.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work with Thompson, Berwick and Partners.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work at board meetings of the Sustainable Cities Foundation.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional work with Hawaii Planning and Development.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional contribution to various unrelated professional associations.

Subseries consists of drafts, essays, notes, clippings, correspondence, memos, invitations, minutes, memorandum, newspapers, agendas, pamphlets, note cards, reports, plans, and maps, relating to H. Peter Oberlander’s professional contribution to UBC / University of Jerusalem.