The fonds consists of records collected and received by Linda Brisken and related to her involvement with various women's councils, centres and programs. Also includes records related to women's studies programs.
This fonds consists of documents and objects relating to Annette Clough's involvement in feminist organizations in Toronto and Vancouver from the 1960s to the 1990s. It consists of photographs, negatives, and political buttons.
Fonds consists of correspondence, reports, papers and a variety of other materials pertaining to the interests and activities of Madeleine Gilichrist. The fonds is divided into nine series according to common subjects, groups, research and events. These include: Midwifery and Reproduction; FRAPPE : Conferences and Papers; Canadian Feminist Issues, Groups and Events; National Action Committee on the Status of Women (NAC) Material; Global Issues and Events; International Conflicts and Peace Initiatives; Voice of Women (VOW) and Women for Mutual Security (WMS) Material; Beijing Women's Conference; and Women for Peace and Freedom.
The fonds consists of records related to Ontario Association of Interval and Transition Houses (OAITH), and specifically to the Regional Coordinating Committee to end Violence Against Women. It includes records related to communication between Ottawa Interval House and Ottawa Police, and also communication between (OAITH) and the Ontario Police Commission. This fonds highlights the efforts made to advocate change in the legal process to end violence against women as well as police intervention regarding domestic violence in the 1980s.
The materials contained in this fonds give an insight of Toronto women’s movement activities in the 1970 to the 1990s. Since the 1970s, Helen Jefferson Lenskyj was involved in several community activist groups. The fonds reflects her commitment to the Feminist Party of Canada at the end of the 1970s and beginning of the 1980s. She taught at the University of Toronto between 1986 and 2007. This fonds emphasizes her work on sexual harassment prevention at the Ontario Institute for Studies in Education (O.I.S.E.), and her involvement with the Centre for Women’s Studies in Education (CWSE), mostly with the subcommittee that she coordinated, which investigated a free-standing women’s studies program. This fonds is also composed of a collection of various posters on women’s issues in the 1970s to the 1990s.
"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 Women of Impact in the Canadian Materials, Metallurgy, and Mining Fields oral history research project. It contains audio and video interviews of 18 women pioneers and leaders in the fields of mining, metallurgy and materials. It also contains interview transcripts, and the Women of Impact book which profiles each of the interviewees.