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Series consists of Tim Zuck’s personal and professional correspondence and includes letters, postcards, e-mails, faxes, notes, photographs and slides of other artists’ work, exhibition notices, and artist CVs. Filed according to name of correspondent.

Series consists of letters, e-mails, faxes, loan agreements, invitation lists, photographs, notes, press clippings, exhibition notices, catalogues, lists of art works pertaining to exhibitions, and exhibition itineraries. The series also consists of correspondence letters and e-mails regarding the book Tim Zuck: Paintings and Drawings, Altitude Publishing, 1997, edited by Ramsay Cook with essays by Ramsay Cook, Ron Graham, William Moore and an interview with Jean Blodgett. The artist has filed these documents alphabetically by project.

Series consists of art ephemera collected by Tim Zuck and not directly connected to his work at art college.

Series consists of newspaper and magazine articles and reviews and exhibition notices of Tim Zuck’s work. The series also contains some of Zuck’s personal notes and two copies of a transcript of an interview with Joan Murray, dated March 8, 1979. The artist has filed these documents together chronologically.

Series consists of Tim Zuck’s income tax records, invoices, correspondence with Revenue Canada, art supply receipts, studio renovations receipts, art income records, travel expenses, etc. The series also contains correspondence and a purchase and sale agreement regarding his house sales in Halifax and Toronto.

Series consists of work originating from and around the “Projects Class” at the Nova Scotia College of Art and Design, and similar activity at the California Institute of the Arts, during Tim Zuck’s association with these institutions. It includes the art films “Elevator”, “Halifax”, and “A Walk on a Frozen Lake”, audio tapes, photographs, and documentation for performance works by Tim Zuck. The series also contains conceptual artworks done by fellow student Richards Jarden, and descriptions of works done by others in the class. A sequence of files pertaining to group exhibitions in the early 1970’s are also included, in addition to art projects done by students at the California Institute of the Arts.

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 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.