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Series comprises bound notebooks in which Jack Bush recorded notes on his paintings between 1930 and 1976. Beginning in 1957, some descriptions include thumbnail drawings. The notes include titles, dimensions, dates, some purchasers and other details of the paintings.

Series comprises personal diaries written by Jack Bush in Toronto between 1952 and 1976. The 24 volumes of diaries, a form of therapy suggested by Bush’s psychiatrist Allan Waters, describe events from his family life and career.

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.

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 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 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 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 contains files compiled in preparation for a show of Toronto painters by the Adult Programs Department at the Art Gallery of Ontario. Letters from Peter Dale with questions attached were sent in May 1984 to the 24 artists involved in the show. There were three slightly different questionnaires, each with 7-8 questions. The letter and lists of questions can be found in the administrative files. The responses are arranged alphabetically.

Series consists of files containing forms published by the Art Gallery of Ontario and filled in by artists. The early forms (1912-1930) contain the following fields: Name (in full), Born (Date), Studied, Have received awards as follows, Am represented in the following collections,
Member of, Refer to published articles, books, etc., as follows, Date, Post Office Address, Signature. Many of the forms have been pasted onto larger sheets and in some cases letters, clippings and death dates have been added. In a few cases there are two forms of different dates for one artist. Forms from the 1970’s additionally ask for art dealer, technique, works in private collections, works in public collections and positions held. The forms are arranged alphabetically by author’s last name.