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Series consists of Barbara Astman’s address books and notebooks, including three sets of pages removed from a three-ring bound daybook. Many address books contain memoranda; the earliest volumes have covers decorated with transfer prints by the artist. Accrual consists of Astman’s address books, business card books and daily agendas, with related notebooks.

Series comprises Barbara Astman’s journals and journal / notebooks from 1974 to 2003. The contents of these volumes vary; sometimes the artist makes a narrative record of the events of daily life, sometimes she makes notes about artistic inspiration or more mundane memoranda. Often, she fills pages with found images, ephemera and Polaroid snapshots. There are numerous connections between the pages of these volumes and the artist’s finished works. All volumes contain some element of journal writing, which distinguishes them from the notebooks in Series 9. Accrual to series consists of two journals and one journal fragment from diverse periods in Astman’s life: a diary from her teen years, a baby journal documenting the infancy of her daughter Amy Astman Baker, and pages from a journal with collage elements from the early 2000s.

Series comprises recordings of Barbara Astman’s artistic activity and other recordings made between 1990 and 2006.

Series comprises photocopies of magazine articles on Barbara Astman and her art, including reviews. Series also includes posters for Astman’s exhibitions, and a few posters for exhibitions by her friends. Accrual contains copies of advertisements for and reviews of Astman’s exhibitions, similar material pertaining to friends of the artist, and documentation of internet searches on Astman from 2002.

Series consists of records from Barbara Astman’s career as an instructor at the Ontario College of Art and Design (OCAD) in Toronto from the 1970s until her retirement in 2021. Includes course outlines, correspondence, notes, other course material and related documents.

Accrual to series includes similar textual documents to previous transfers, as well as Astman’s teaching samples, which include graphic material such as negatives, transparencies, prints, image transfers and other experimental works of a variety of materials, such as glass, stone, and plastic. Astman used these samples in her courses and workshops as educational tools to provide students with visual examples of certain processes and techniques. Astman used a wide variety of materials to create her samples in order to demonstrate to students that regardless of budget or available materials, almost anything can be used to create a negative or other photographic artworks. Some samples were created in front of students during demonstrations, workshops or lessons, while others were made by Astman for experimentation and later repurposed for use in the classroom. Samples were often handled by students in class or workshops and passed around to allow for hands-on learning.

Series comprises photos of Barbara Astman’s art projects and exhibitions in Canada during the 1970s and 1980s. Accrual to series consists of installation photographs of three exhibitions of Barbara Astman’s work: “Untitled, I was thinking about you” (Sable-Castelli?), Personal/Persona (AGH), and Clementine Part I, II & III (Yukon Arts Centre).

Series comprises photos of Barbara Astman and family members with several leaves of textual material.

Series comprises records of Barbara Astman’s public art projects (Calgary Olympics floor; Don Mills Centre, Simcoe Place, National Trade Centre, St. Laurent Park Leisure Centre, Bay Hayter) and exhibitions, including photographs, correspondence and other textual material and several objects.

Series consists of annual income tax returns and related receipts for art-related expenses arising from Barbara Astman’s art practice.

File consists of art projects completed by Barbara Astman while she was in high school.