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Fonds consists of the personal and professional records of Murray Favro, documenting his life and activities as a multimedia artist and musician, as well as his personal interests and pursuits. It includes such textual records as notebooks, correspondence, contracts, grant applications, newspaper clippings, meeting notes, invitations, and records from Favro’s involvement with the 2020 Gallery and Forest City Gallery. Also included are records relating to exhibitions of Favro’s work, including two major retrospectives in 1983 and 1998. Throughout the fonds there are extensive notes and writings by Favro including installation instructions, project notes and ideas, drafts of documents and correspondence, and journal writings recording the artist’s thoughts on a wide range of topics. There are also textual records that were likely used for research and reference in Favro’s work, such as articles, photocopied pages from textbooks, catalogues, and other printed materials, often relating to technology and technical equipment such as projectors, computers, film and photography. Visual materials in the fonds include a watercolour painting, posters, photographs, drawings, and rough sketches and diagrams. Personal records include materials such as membership cards, schedules, and records from Favro’s interests and activities, such as flying lessons and motorcycles. Materials capturing his activities as a musician with the Nihilist Spasm Band include promotional posters and flyers, itineraries, set lists, expense lists for tours and performances, and other textual records. The fonds also includes one optical disc with samples from Favro’s digital projects.

The fonds has been arranged into a single series comprised of 64 files. The materials within each file may span a range of years and reflect a variety of activities. Details about the contents of each file can be found in the scope and content notes.

Fonds consists of administrative records of the Pollock Gallery in Toronto during the period 1967–1982; gallery correspondence; files on gallery artists and others; photographs of sculptors Frances Loring and Florence Wyle; records of gallery owner Jack Pollock; and material related to gallery artist Norval Morrisseau and to a book about him co-written by Jack Pollock.

Fonds consists of the working papers of Micah Lexier. Items include correspondence, sketches, computer renderings, project descriptions and proposals, press clippings, publicity materials, photographs, and other documents pertaining to the design and fabrication of artworks.

Fonds consists of documentation of David Blackwood’s career as a visual artist in Canada. Accumulated content includes exhibition catalogues and related documents, biographical information on David Blackwood, publicity materials, photographs and slides, preparatory drawings and sketchbooks, certificates and other awards on paper, video recordings of special events, ephemera, written correspondence with artists and art galleries, and Blackwood’s research materials from various projects.

Fonds consists of documentation of Peggy Gale’s career as an independent writer and curator in Canada with projects in the US, Europe, Brazil, and Japan. Accumulated content includes records of curated exhibitions, publications, photographs and slides, ephemera, essays, biographical information on artists, Gale’s research notes from various projects, written correspondence with artists and artist run centres, and audio recordings of lectures and interviews.

Fonds consists of documentation of the work and activities of members of the ChromaZone Collective; records of the group’s exhibition activity, including posters; and photographs of group members. Fonds also includes records related to the establishment and administration of the Tim Jocelyn Art Foundation, and records of Sibyl Goldstein’s art-related activity following the disbandment of ChromaZone.

Fonds consists of material produced by Pleasure Dome in Toronto for its programs of film and video exhibitions between 1989 and 2016, including press releases, clippings of notices and reviews, programming records with correspondence, and related material.

Fonds consists of Art Directors Club, Toronto official records, correspondence, records of club meetings, committee reports, membership records, exhibitions and awards dinner records, and other material.

Fonds documents Elke Town’s activity in the visual arts in Toronto between the years 1974 and 1991. The files are related to various positions she held, beginning with A Space in 1974, and the curatorial work she carried out at the Art Gallery of Ontario, Gallery 76 at OCAD, Art Metropole and as an independent curator. There are also files related to her writing about visual art and video for numerous publications such as C Magazine, Vanguard, Parachute and Canadian Art.

Fonds consists of material documenting the Women's Art Resource Centre as a gallery and provider of educational programming, facilities, and research resources to support and promote women artists, including photographs, slides, exhibition promotion, workshop flyers, brochures, posters, newspaper clippings, correspondence, and publications.