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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 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.

Collection consists of research and administrative files created and maintained by Joan Murray during the development of the Tom Thomson Catalogue Raisonné, and further files documenting the editing and online publication of the catalogue by Emma Conner.

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

Collection consists of General Idea ephemera including exhibition and performance invitations, postcards, flyers, tickets and similar items.

Fonds consists of the records of the life and work of Sorel Etrog, including his personal, professional and literary correspondence; records of exhibitions and of acquisitions of his work by various galleries and collectors; administrative records related to various projects and collaborations by the artist; preparatory and experimental works on paper (“study drawings”); a selection of preparatory maquettes for sculptures; publicity materials including exhibition invitations and press clippings; and comprehensive documentation (photographs and lists) of the artist’s finished work. Three paintings by art collector and patron Samuel Zacks are also included.

The collection comprises archival material related to Harris’s photographic work from her time in Spence Bay, as well as that of the darkroom project she conducted while living there. The archival collection consists of Pamela Harris’ original contact sheets; her active and passive correspondence; documentation, publicity and text panels related to her exhibitions of Spence Bay photographs; audio recordings of interviews with people she met and worked with in Spence Bay; and related materials from the 1973 Women’s Kit. It includes the 28 b&w photographs taken by the Inuit women participants of the concurrent natural dyes workshop and the related text panels exhibited at the Artic Women’s Craft Conference and TD Centre in 1974, as well as documentation of their work in the Darkroom Project and the resulting exhibition. It also includes a questionnaire designed and distributed by Pamela Harris and colleague Paul Carter to other documentary photographers during this same time period.

Fonds consists of corporate records of Gallery Moos, including files on artists and associated dealers and galleries, art fair participation and travel, business correspondence, publishing and administrative records and the records of David Moos and gallery director Gerard Jennings. Fonds also contains the gallery’s published material, including exhibition invitations and catalogues, posters, and limited edition publications. Two films on gallery artist Gershon Iskowitz are also included.
The accrual of 2004 consists of Series 8 and Series 9, listed below. In 2012 the accrual of material from Gallery Moos augmented Series 1–6, 8 and 9, and added Series 10–14.