This fonds contains documents relating to the Canadian Women's Studies Association (CWSA) from its beginning in 1982 until 2006. It consists of mainly textual documents relating to the administration, membership, activities, promotion of women's studies as an academic discipline in Canadian universities, and the publication of the periodical and monograph Atlantis, Newsletter and Weaving alliances. The fonds also contains material from other organizations collected by members of the CWSA, namely, the Action-éducation des femmes (AEF), the Canadian Abortion Rights Action League (CARAL) and Women Plan Toronto (WPT).
The administrative documents include the CWSA constitution, reports, an organizational handbook, meetings' minutes, notes, agendas, a speech, proposals, an administrative history, short biographies, and correspondence. It includes financial documents such as budgets and financial statements, as well as promotional material such as pamphlets, newspaper clippings and advertisements. It also contains documents relating to conference planning and other activities carried out by the organization.
The fonds contains copies of the Newsletter, Atlantis and Weaving alliances.
Fonds consists of briefs, statements, press releases, brochures, correspondence, minutes, agendas, pamphlets, photographs, clippings, print-outs of Wikipedia and Encyclopedia pages, and various other materials pertaining to the activities of the Ottawa Women's Lobby (OWL). The fonds is divided into three series: Public Statements, Operations and Administration, and Photographs, Clippings, and Print-outs.
This fonds contains documents related to Myrna Wood's activities within women unions in Ontario, especially in Hamilton. It documents her interest in subjects like occupation health and security, women's issues at work, and abortion rights and consists of records relating to her activities in Toronto, Montreal and New York. It includes the essay she co-wrote "Sisters, Brothers, Lovers... listen" for the final conference of SUPA (Student Union for Peace Action) in 1967. It also contains the essay "Bread and Roses" written with Kathy McAfee calling for a movement to organize working-class women. This fonds highlights Myrna Wood's participation in peace movement meetings with the Vietnamese National Liberation Front in Cuba and gives insight into her involvement in the women liberation movement at the end of the 1960s and beginning of the 1970s.
This fonds is comprised of textual records related to Advocates for Community-Based Training-Education for Women. It mainly reflects ACTEW's administration, organizing strategy, meeting minutes, grant applications, correspondence, and publications.
Advocates for Community-based Training and Education for Women (ACTEW)
This fonds consists of Wendy McPeake's personal files. It is composed mainly of textual records from the late 1970s to the early 1980s. It contains files related to her involvement in various groups and organizations such as the Ottawa Women’s Centre, the Political Action Collective, the Feminist Action Collective, the Local 7/SORWUC, and the Public Service Alliance of Canada Women’s Committee. It includes materials related to feminist publishers from Canada and the United States, collected by Wendy McPeake when she was arts coordinator for Upstream magazine. The fonds also contains various subject files that reflect Wendy McPeake’s interests during this period. The 1970s was an active period for feminist organizations, especially at the grass-roots level, where a rich feminist culture of politics, music, publishing, and art flourished. Thus, this fonds offers insight into the Women’s Movement in Ottawa, mostly during the late 1970s to the early 1980s.
Fonds contains records and interviews relating to the gathering of oral history interviews across Canada for the Second Wave Archival Project. Items include audio oral history interviews, transcripts for interviews conducted in Ontario, descriptive metadata spreadsheets and administrative documents.
This fonds contains material relating to the SWAP group from its formation in 1976 until 2008 and is mostly textual along with some electronic records. It contains administrative records such as meeting minutes, correspondence and financial records and reports as well as member award nominations and SWAP Institute conferences.
Section of Women and Psychology of the Canadian Association of Psychology (SWAP-CPA)
"This fonds includes textual records and photographic works related to the artistic work of Judith Lemer Crawley. It offers a complete overview of the artist's artistic production. All of Judith Lemer Crawley's exhibition projects or those in which she has participated are represented. The fonds contains photographs taken by the artist from the late 1970s to the 2000s. The photographic material includes prints (framed or unframed) with dimensions ranging from 20 x 24'' to 8 x 10''. Thus, this fonds reveals the evolution of Judith Lemer Crawley's artistic career, from her first photographic experiences to her most recent shots. The fonds is divided in four series. The first series contains records related to Judith Crawley's exhibitions: Pre-Relations (1979), Relations (1981), You Can’t Hug Kids with Nuclear Arms (1986), Giving Birth is Just the Beginnings: Women Speaks About Mothering (1985, 1986), One in Five… (1993, 1995, 1996, 1997, 1998), The 50s (1997), About Auschwitz (2003, 2004, 2005, 2010), Women’s Daybook Series (2006), Women and Landscape (the silver prints kept in this fonds were printed in Banff in 2014 but never exposed). The second series consists of records related to group exhibitions in which some Judith Crawley's photographs were exposed: Little Shop Gallery Exhibit (1981), Urbanité (2001), and other group exhibits. The third series includes documents related to various activities in which Judith Lemer Crawley participated, such as conferences, workshops, events, publications. Some documents are also related to her teaching duties at Vanier College in Montreal. The series also includes photographs arranged by subject (the subjects having been determined by Judith Lemer Crawley herself). At the end of the series, photographs by artists other than Judith Lemer Crawley, such as Michel Campeau and Pamela Harris, are inventoried. / Ce fonds comprend des documents textuels et des œuvres photographiques reliés au travail artistique de Judith Lemer Crawley. Il offre un panorama complet de la production artistique de l’artiste. L’ensemble des projets d’expositions réalisés par Judith Lemer Crawley ou auxquels elle a participé, y sont représentés. Le fonds contient des prises de vue réalisées par l’artiste depuis la fin des années 1970 jusqu’aux années 2000. Le matériel photographique comprend des impressions (encadrées ou non) dont les dimensions sont comprises entre 20 x 24’’ et 8 x 10’’. Ainsi, ce fonds dévoile l’évolution de la carrière artistique de Judith Lemer Crawley, de ses premières expériences photographiques à ses plus récentes prises de vue. Le fonds est divisé en quatre séries. La première série contient des documents relatifs aux projets d’expositions réalisés par Judith Lemer Crawley : Pre-Relations (1979), Relations (1981), You Can't Hug Kids with Nuclear Arms (1986), Giving Birth is Just the Beginnings : Women Speaks About Mothering (1985, 1986), One in Five... (1993, 1995, 1996, 1997, 1998), The 50s/La Cinquantaire (1997), About Auschwitz (2003, 2004, 2005, 2010), Women's Daybook Series (2006), Women and Landscape (les épreuves conservées dans ce fonds ont été publiées à Banff en 2014 mais jamais exposées). La deuxième série est constituée de documents relatifs à des expositions collectives dans lesquelles certaines photographies de Judith Lemer Crawley ont été exposées : Exposition Little Shop Gallery (1981), Urbanité (2001), et autres expositions de groupe. La troisième série comprend des documents relatifs à diverses activités auxquelles Judith Lemer Crawley a participé, tels que des conférences, des ateliers, des événements, des publications. Certains documents sont également liés à ses fonctions d'enseignante au Collège Vanier à Montréal. La série comprend aussi des photographies classées par sujets (les sujets ayant été déterminés par Judith Lemer Crawley elle-même). A la fin de la série, sont inventoriées des photographies réalisées par d’autres artistes que Judith Lemer Crawley, tels que Michel Campeau et Pamela Harris.
This fonds consists of material relating to the International Network of Women Engineers and Scientists (INWES). It contains correspondence and notes, minutes, reports, and financial documents related to INWES conferences and meetings. It also contains documents related to ICWES conferences, affiliated organizations and conferences, and individual members of note.
International Network of Women Engineers and Scientists (INWES)