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Series comprises records of the management of the Pollock Gallery during various periods of its activity
between 1967 and 1982, including records of transactions with clients and other art galleries; financial
records; files on works of art consigned to the gallery for exhibition and sale by artists, or for resale by
collectors; records of consignment of works to rental services of art museums; accounting for art gallery
purchases from art dealers and artists; and related material.

Series comprises correspondence regarding the business affairs of the Pollock Gallery and other art-related matters between 1962 and 1982, including business (and some personal) correspondence to Jack Pollock; a file of letters notifying clients, artists and others of the impending closure of the gallery in 1981; and other correspondence.

Series comprises files of materials on artists whose works were exhibited by the Pollock Gallery in the 1960s and 1970s, together with artists who were applying to the Pollock Gallery for representation, and others. The files include photographs of paintings, prints and sculpture; artist biographies; chronologies of exhibitions; exhibition announcements; newspaper reviews, miscellaneous photocopied materials, and related items. Further records of artists associated with the Pollock Gallery will be found in series 4, 6 and 7.

Series comprises photographs of American-Canadian artist Frances Loring (1887–1968) and some of her sculptures, together with photos of sculptures by her companion, American-Canadian artist Florence Wyle (1881–1968), taken in Toronto and other places in Ontario, between 1916 and (probably) the 1950s. The Pollock Gallery held Loring & Wyle exhibitions in 1966 and 1969.

Series comprises photos of Jack Pollock while he was director of the Pollock Gallery, miscellaneous personal and professional material, and correspondence.

Series comprises of files pertaining to Michael Bidner’s xerography copy art and the Colour Xerography exhibitions. These materials have been organized by Bidner into 7 curated binders: a binder titled, “Colour Xerox Papers,” a group of five binders each labelled according to the letters X, E, R, O, and X, as well as a “Back-Up” binder of materials. These binders contain documentation of copy art production and exhibition, including original copy art by Bidner and other artists, the Xerox 6500 Colour Copier, artist resumes, press releases, exhibition catalogs and invitations, photocopied newspaper and magazine reviews, photographs, and a few sample prints on fabric. The binders also contain records showing relations between the Xerox Ltd. company and the artists promoting the machine such as project funding, operation costs, technical support and letters from the company to artists and gallery curators. Binders 1 to 6 are subdivided by page separators and have been titled by Bidner; the titles are represented in the content note below. Note that these binders were created by Bidner for personal or professional use and were not shown publically as part of exhibitions. In addition to the binders, this series also includes loose files of similar materials.

Series comprises material such as files, master copies and dummy copies pertaining to the print publications which Michael Bidner produced or co-produced. These publications include Adz magazine, Rude magazine, Rag magazine booklet, and the London District Union newspaper. In 1976, Bidner launched Adz, which he described as “the magazine as art” and was put out under AMSDAS Publishing (Adz Magazine Subscription Deposit Account Service). Adz was designed to be a magazine with up to 1,000 issues each with print runs of varying size. Bidner created his own issues or invited other artists to compose an issue. Issues were typically named with a single word followed by a number, for example “Bus 24” (numbers did not indicate a unified sequence). The envisioned run of 1,000 issues was never completed. Bidner went on to produce Rude magazine, co-founded with printmaker and owner of Acme Print & Litho, Joe Thomas. The magazine ran from 1977-1983 and operated out of two facilities located in London and Stratford. It was largely printed on found paper acquired by Bidner from various sources. Nine issues of Rude magazine were published. Also during this time, Bidner created Rag magazine (1979-198?) in partnership with Don Gaul and Gary Jack. Rag magazine is a half-sized zine booklet, or a “streetwise chapbook”; six issues were produced. The London District Union (1979-1980) was an arts-based local paper for London, Ontario which published only four issues as a market trial before folding. Carol Off, the television and radio journalist, was an editor for the London District Union.

Series comprises of a set of five binders containing various textual records and graphic material compiled by Michael Bidner. Materials consist of black and white photocopies, collage prints, correspondence, photographs, slides, negatives and transparencies. Bidner organized and structured the binder contents using divider pages with brief paragraphs of text documenting each section. Sections are arranged chronologically and a date is given on the descriptive text. The fifth binder contains only slides and lacks any descriptive notations. Materials relate to high school plays, Bidner’s art catalogues, sales of his work, exhibition invitations, reviews and publicity, awards and grants, studio spaces, and art pieces. Subjects of photographs and slides include the artist, studio space, art pieces, and scenes of art-making or in-progress works.

Series comprises of Artistamp correspondence and samples of mail art between Michael Bidner and other artists around the world. Compiled alphabetically by artist name, materials have been organized by Bidner into ten binders as well as loose paper files. These records were organized by Bidner as a file system for each mail-artist which included contact information, biographical and professional background, correspondence, and stamp art (original or photocopy versions). Files usually include a copy of a typed letter Bidner sent to each artist outlining his Artistamp catalogue project and call for submission. These materials also include published articles, newspaper clippings, postcards, flyers, and a small number of slides.

Series comprises materials related to various projects of Michael Bidner, organized by particular art pieces, projects, exhibitions, events, or other artists or collaborators. These records were either organized by Bidner in labelled folders or mixed together as loose files. Subject matter pertains to Artario ’72, Video Water Works art piece, Say Cheese, Trajectory exhibition, Centre for Experimental Art and Communication exhibition, Ian Hutton manuscript materials, and miscellaneous records. Records of the Colour Xerox Papers, Artistamp, Rude, Rag, Adz magazines are also amongst these files. Materials include collage work, copy art, correspondence, sample prints, catalogs, posters, flyers, newspaper clippings, magazine articles, as well as photographs, slides, negatives, and contact prints.