User:Jaswfelter/sandbox

Publishing/Mail Art
Anna Banana, born in Victoria, BC, Canada in 1940, attended UBC ‘58-’63 receiving an elementary academic teaching certificate, taught 2 years in the public schools, 3 in Vancouver’s New School, an account of which is published in Radical School Reform, © Simon & Schuster, 1969. She is a Canadian mail and performance artist, writer and small press publisher, documenting the work of artists with whom she has been exchanging artworks for network projects and exhibitions since 1971. She began her newsletter, the Banana Rag for her Town Fool project in Victoria, BC in ‘71; a copy of which she sent to Vancouver artist Gary Lee Nova, who replied with a copy of the Image Bank Request list which gave the names, addresses and image requests of artists participating in mail-art networking at that time. It was the beginning of a 40 year love affair with an egalitarian art/communication network that connected her with artists around the world.

In 1973 she moved to San Francisco where she had a dozen mail-art friends, began working as a typesetter at Speedprint, an instant print shop where her first issue of VILE magazine was printed in 1974. She envisioned VILE as a place to document and acknowledge network activity. It was a response to FILE magazine’s shift towards more main-stream art coverage. Between ‘74 and ‘81, she published 7 issues of VILE, of which Nos. 4, 6 and 7 were edited by her then partner Bill Gaglione.

Back in Canada, in 1983, she published About VILE, a book giving the history of the ‘zine, presenting a backlog of mail-art works, and an account of her and Gaglione’s ‘78 European tour, to document and conclude their working relationship. Also in ‘83, she organized a Banana Art event for Global TV, which took place on the deck in front of Bridges Restaurant on Granville Island, Vancouver.

From ‘83 through ‘85 she worked in the production department of Intermedia press, learning the ins and outs of full color printing which she later utilized when she began publishing International Art Post in 1988. These editions, dry-gummed, pin-hole perforated sheets of full color stamps by artists were cooperatively financed, with participating artists receiving 500 copies of their stamp, Banana Productions retaining the remainder for sale and promotion. Since that time IAP has become an annual, with the 24th editions rolling off the press in October 2011. In 1990, she created the Artistamp Collector’s Album, a cloth bound, limited edition of 49, silk-screened, 3 ring binders to house/display all editions of IAP and Artistamp News(letter,) which she began in 1991. She published 8 issues of ASN which featured artist profiles, stamp news, new editions and several tipped in color stamps per issue, then converted her writing/publishing back to more general mail-art topics in the Banana Rag, which is now up to Number 41, Sept. 2011.

In 1991, she created a miniature book and stamp sheet, 20 Years of Fooling Around with A. Banana as the catalogue of her 20 year retrospective at the Grunt Gallery in Vancouver. The deluxe editions of the book have the stamps tipped in over the b&w illustrations.

Citations:

 * In the book, In Numbers; Serial Publications by artists Since 1955, © 2009 by PPP Editions in association with Andrew Roth Inc., Victor Brand writes: Anna Banana has been a major player in the mail-art movement since the early 1970s, acting as a bridge between the movement’s early history and its second generation. Banana began in Victoria, BC as a fabric artist, where her dissatisfaction with marketing her work led her toward more public expressions, such as her Town Fool project and a newsletter-style publication, the Banana Rag. Her distribution of the newsletter resulted in an involvement with mail art in 1971, when she received the Image Request List distributed by Canadian group Image Bank. Like many mail artists, she had embraced an alter ego, which she incorporated into her correspondence with Ray Johnson, Image Bank, General Idea and the wider network. After her move to San Francisco, she became associated with the Bay Area Dadaists, who produced neo-Dadaist performances, mail art and publications. Chief among these was Banana’s seminal VILE International, which during its eight issue run explored nearly the full range of formats and media that define the mail art genre.


 * In her essay, Riot on the Page; Thirty Years of Zines by Women, in the book Modern Women; Women Artists at the Museum of Modern Art, ©2010, author Gretchen L. Wagner writes; “Canadian artist Anna Banana, who founded VILE in 1974, was one woman who gravitated to these democratized technologies. (the DIY ethic, democratic and inclusive/photo copy/instand printing.) ‘She explained that VILE began at Speedprint, a small, instant print shop in San Francisco where it became apparent to me that anyone could be a publisher.’ VILE, distributed through the correspondence network, through which Banana had many ties, is a combination of art, poetry, fiction, letters, photos and manipulated advertisements from LIFE magazine. It was predominantly a visual publication, engaging critically with the inundation of mediated pictures that come out of the organs of mass communication.
 * Banana claimed as influences, Dada humor, theories of therapeutic madness, and the blissed-out bohemia afoot in the Bay Area during the 1960s and early ‘70s, but VILE’s nihilist tenor dovetailed with the hard-boiled punk attitude on the rise in Britain and the United states at the time.


 * In the book, Artists’ Magazines; an Alternate Space for Art, 2011 MIT Press, in the chapter The Magazine as Mirror, FILE 1972-1989, author Gwen Allen writes “Also notable was the prevalence of women artists. As the editors explained, ‘The female gender rises through the medium of the mailing chain with an elegant ease, establishing itself with mundane eloquence in the arena of our affliction: - a fact they celebrated in the second issue with a section of ‘women’s pages,’ featuring notable ‘fe-mail’artists such as Anna Banana.” .  .  . .  . 	“FILE would continue to publish the Image Bank image request lists until its Fall 1975 issue, but it would gradually distance itself from the mail art scene, prompting a string of takeoffs, including VILE - started, according to editor Anna Banana, in response to ‘FILE’s growing disdain for mail art’ and later, BILE and SMILE.” - and “While acknowledging the ‘uneven aesthetic’ of the mail art network, Banana believed ‘that the process of communication and exchange is important regardless of the aesthetics and skills of  the sender.’ VILE appropriated FILE’s already appropriated red-and-white LIFE magazine logo.”

Writing
Aside from the account of her years at the New School mentioned above, and her editorials in VILE, the Banana Rag, and Artistamp News, she contributed two articles; Mail Art Canada, and Women in Mail Art to the book Correspondence Art; Source Book for the Network of International Postal Art Activity ©1984 La Mamelle, Inc., ISBN 0-931818-02-8. These articles were reprinted in the FFFlue, Vol. 4 #3-4 in 1984.


 * Maclean’s magazine Vol. 85#3, Mar. 1972 published her article “The Transformation of Anne Long.”
 * The Recreation Reporter published her article Banana Olympics; Sporty Art or Arty Sport, Sept. 1980
 * The magazine Rubberstampmadness published a series of her articles on mail-artists; - Jeanie Eberhardt; the EberPlex Stamp Works, Sept/Oct 2002; Brain Waves at High Tide, May/June 2001; Mail Art Book Reviews; Umbrella Anthology & Mail Stones, Jan/Feb 2001, - The Danish Mail Art Bug/Frank & Witta Jensen, Mar/Apr 2000; - The Italian Connection/Vittore Baroni, Nov/Dec., 1999; -The Personal Touch/Peter & Angela Netmail, May/ June '98 and Artistamps in the Evolving Mail-Art Network, May/June '97
 * Her reviews; -Big is Beautiful at Venice Biennale, appeared in the Coast Independent, August 1/99 and -Size does matter at Venice Beinnale, in the Georgia Straight, Aug. 26-Sept. 2, 1999
 * Her article Strategies of Audience Engagement published in the book DIY Survival, not © C6, 2005
 * She was Special Consultant to author James Warren Felter, for the book Artistamps/Francobolli d’Artista

Interactive Public Events
In 1974, Banana took a job at the SF Bay Guardian, where she worked pasting up the ad pages, filling the 1” x 1 column ad holes with invitations to participate in her events; initially, the ‘74 Columbus Day Parade entry, offering Degrees of Bananology to those who participated, or who sent her banana news. In 1975, the Bay Guardian ran a full page ad for her Banana Olympics, attracting over 100 contestants who costumed up to compete in events such as the overhanded banana throw, the water and balance race, 4-legged race, etc. Winners were not those who crossed the finish line first, but who did so with the most “appeal” based on costume and style of performance. The event took place in the Embarcadero Plaza, with collaboration from the New Games Foundation, and a dozen or more volunteers. It was witnessed by hundreds, video taped by an independent crew and covered in the SF Chronicle and Examiner.

In 1980, Banana was invited by curator Rosa Ho, to present the Banana Olympics at the Surrey Art Gallery. The event was funded by the Canada Council, the BC Arts Council and the municipality of Surrey, BC. Originally scheduled for April Fool’s day, the event was delayed for three months while curator Ho defended it against a Surrey councillor who refused to sign the checks because as he saw it, the event “wasn’t art;” her inspiration for the “Bureaucrat’s Marathon,” three steps forward, 2 backwards, one to each side. The event took place July 13 on the track and field that borders the Surrey Art Gallery, with over 100 participating in the races. She and Gaglione finished the year off with a Canadian tour, presenting Toward the Future, an expanded program of Futurist theatre works, in 15 cities across Canada, from Victoria, BC to Halifax, NS.

Citations:

 * Reporter Donna Pinder writes, in the Surrey Savant, July 18/80, “Banana’s fruit antics flavor Surrey ‘Olympics’ . . . If you think you’re going bananas, you should have joined those participating in the 1980 Banana Olympics in Surrey this past weekend. The games were opened by Anna Banana herself when she ran onto the track with a banana torch and lit the eternal flame of the games. The first race, the Bureaucrats’ Marathon, in which contestants were wrapped in red tape and proceeded three steps forward, two back, and one to each side. The games MC, in the spirit of the event, declared that the race would ‘take all day to run as there was a lot of paper work to fill out’ and noted, as the race finished, that ‘even as the participants approached the finish line, they did not put on a visible burst of speed.’”


 * In her essay, Not Just for Laughs; Women, performance and Humor, in the book, Caught in the Act; an Anthology of performance art by Canadian Women, ©2004, YYZ books, Toronto, Tanya mars writes: “The remarkable thing about Anna and her banana fetish, is how perfect the banana is as a device to facilitate her aesthetic and her philosophy of art. Anna Banana’s performances focus on interactivity and parody. Her main preoccupation is to break the audience/spectator barrier and to engage the passive viewer in the creative process. The Banana is silly, it is difficult to be intimidated by the banana; indeed, the banana is the antithesis of other more aggressive performance art images, such as bondage or bodily fluids. Because the banana is so unthreatening, Anna has been able to facilitate her performance activities in communities around the world with relative ease. These events are celebratory, inclusive, humorous and fun. They are a vehicle for people to experience themselves as performers and creators; to experience the interface between art and life as a creative process.”
 * In his article, It’s not so easy being yellow; Anna Banana, Toronto Globe and Mail Aug. 20/98, Blake Gopnik writes: “ . . . a BC fringe artist takes on a children’s TV show and stands up for her Carmen Miranda rights. After an hour of knock-knock-worthy conversation with Vancouver performance artist Anna Banana, a devotee of bananacentric art-making for over 25 years, you rather wish things would start coming up oranges. But bananas it is as the 58 year-old artist brings her peculiar practice to Toronto. Starting today, the lab-coated Banana will occupy various downtown street corners, presenting busy passers-by with a fruity sociological dilemma: if a total stranger is having trouble coping with a suitcase full of banana objects, will anyone in this atomized society lend a hand? The artist is determined to find out, and to poke gentle fun at the scientific establishment while she’s at it. Yet Banana’s trip to Toronto, has a more serious side, as she’s determined to establish in public that she is the one, the only, the soon to be trademarked Anna Banana,’accept no substitutes.” A kids-show character of the same name, appearing on TV screens courtesy of Montreal’s Prisma Productions, is a late and unworthy interloper in bananadom, the Vancouver artist said. ‘I would like to be acknowledged as the original Anna Banana, and to have this program done under licence from me.’

Performances
Throughout the 70’s Banana continued with parade entries and April Fool’s day events, as well as collaborating with the Bay Area Dadaists on performances of Dada sound poetry and Italian Futurist sintesi which they presented at the SF Book Fair, San Jose State University, the Saturday Afternoon Club in Ukiah. In 1978, Banana and her partner Gaglione, presented their Futurist Sound performance in A Literal Exchange, at A Space in Toronto. That fall they did a European tour she had arranged through her mail-art connections, presenting Futurist Sound and her Banana Olympics film in 29 cities in 11 countries. In 1979, they presented it again at the Living Art Performance Festival in Vancouver, and in 1980, at San Francisco State University, SF Art Institute, San Jose State U, the Inter Dada 80 Festival in Ukiah, San Diego State U, U of CA, Irvine and Long Beach, and the LA DADA festival in Los Angeles.

In 1981, Banana moved back to Vancouver where she received funding to create a new, solo work, Why Banana? which she presented in 9 cities across Canada and at the U. of South Carolina and Modern Realism in Dallas, Texas, starting in the fall of ‘82. Earlier in 1982, her Going Bananas Fashion Contest was hosted live on CKVU’s Vancouver Show, drawing 25 participants. Banana’s performance and touring continued through the 80’s and 90’s, with an installation and performance in Copenhagen, performances of Why Banana in Umea Sweden, and In the Red/in the Black in Den Haag, Netherlands. In 1993, she presented herself as Dr. Anna Freud Banana, of the Specific Research Institute, come to discover the psychology behind what she called the New German Banana Consciousness. To this end, in each of the 12 venues, she installed 105 blow-ups of newspaper and magazine articles about or related to bananas, from the German press, thus making her case; Germany HAS gone bananas, then asked visitors to take her Roar Shack Banana Peel Test and Personality Inventory for Banana Syndrome (based on the Minnesota Multiphasic Personality Inventory).

Liking the research modis operandi, Banana developed other works that enabled her to engage the public as part of her research, such as Bananas in Distress, (how do persons unknown respond to a person in the street with a problem) which she presented in 3 street locations as part of Toronto’s 7a11d Festival of Performance Art in ‘93. This event was also filmed, along with an interview in her home, and broadcast on CBU TV’s show, On the Road Again. As part of her exhibit of collages and stamp art at the Sarenco Art club in Verona, her next interactive event was a Banana Communion, with visitors kneeling to receive the “host” a slice of banana, and a hit of banana liquor. At the New Gallery in Calgary in 2000, she did a Banana Consciousness Raising event, leading the group through a guided fantasy of the life of a banana, from the corm in the ground to the finished fruit in the market place.

Through her Banana Splitz parody of a TV Game show, which she developed and presented at the Banff Center, she found she overstepped the comfort zone of participants, by asking them to ad lib on  banana news stories. She realized that it’s one thing to ask people to costume and perform funny races, another to ask them to spontaneously make up and speak stories about headlines. It would have worked wonderfully with an improv theatre group, but was a bit much to ask a visual arts audience.

For her Tie a Knot on Me piece, which she presented at the Berlin Transportale events in 2003, she approached passers by at the Nordbahnhof station, introducing herself as an art researcher from Canada, then asking if they would tie a knot using the colored threads on the back of her jacket, explaining she was researching responses to passers by to an unusual request.

Her most recent interactive research, But is it Art? .. . asks her audience to record their yes/no responses to 30 images of art works, many banana themed, on her Specific Research response form, and to complete the 2nd side with name, contact info, age, education, answer questions about art, draw a self portrait, complete a ‘turn these lines into something recognizable’ exercise. As with all her interactive works, Banana is more interested in discovering how much her audience will engage in her research, than whether they consider whether or not the images she projects are art. She presented this work in 2009, in Rome, Cararra, Gent, Minden, Berlin, Annaberg, Budapest, Bremen, Aarlborg; in 2010 in Victoria, BC, and in 2011 in Charleroi, BE, Maastricht NL, Bergish-Gladbach and Berlin, Germany.

Citations:

 * In his essay, Networked Psychoanalysis: a Dialogue with Anna Freud Banana, in the book At a Distance; Precursors to Art and Activism on the Internet, MIT Press, © 2005, Craig Saper comments “Anna Freud Banana is widely considered a crucial figure in the formation of networked art experiments, especially correspondence art, stamp art and public-performance art. Her work serves as a model, and direct influence, for art and media activism on the internet. Her life and career serves as an apt example of how particular countercultural activities, like the therapeutic politics of performance art, led to new forms of art and experimental media networks.”
 * In the book, The Changing Seasons of Humor in Literature, Parodies of Non-Fiction Literature; Scientific literature, with its conventionalized format, has inspired many an amusing parody. Reproduced here with the artists permission, the abstract for her paper;“The Banana in contemporary Germany: Art parodies Science,” by Dr. Anna Freud Banana. Dressed in a white lab coat and armed with charts, graphs and other scientific paraphernalia, Dr. Banana elicited much laughter and many humorous comments from her appreciative audience when she gave her full paper.” International Society for Humor Studies, Conference, Ithaca, NY 1995

Curating
In 1983 Banana organized a mail-art show, Show your Colors, for the Arts, Sciences & Technology Center in Vancouver, producing a small catalogue for the 246 artists, from 32 countries, who participated. In 1987 she curated the performance series for the Artropolis Show in Vancouver and produced a new work in collaboration with Ron Brunette, the World Series, which they presented at the Western Front. In 1998 she curated the exhibit Artistamps from the International Mail-Art Network from her collection of sheets of stamps by artists, for the Sechelt Art Center, in Sechelt, BC. With minor additions and subtractions, this exhibit was remounted as the Popular Art of Postal Parody at the Richmond, BC Art Gallery in 1999, and again at the Open Space Gallery in Victoria in 2000.

Citations:

 * In his article Special Delivery Brings Mail Art; Working on an intimate scale, artists foster dialogue, in the Georgia Straight Oct.28/99, Robin Laurence writes: “In a little burst of synchronicity, some aspects of the mail-art movement are now on display in two Lower Mainland galleries. Writer and performance artist Anna Banana, one of the early proponents of the movement in Vancouver, has curated an exhibition of ‘artistamps, works in postage stamp format, designed and produced by artists from across Canada, the US, Europe and Asia, drawn from her own collection.’ The Popular Art of Postal Parody’, on view at the Richmond Art Gallery, includes some of the envelopes (themselves works of art) on which these stamps are deployed. 	Meanwhile, a posthumous survey of Ray Johnson’s work, including collages, ink drawings, correspondence and mail art has been curated by Sharla Sava and Michael Morris for the Morris and Helen Belkin Art Gallery at UBC.


 * In his article, Anna Banana Goes Postal, Times Colonist, Oct. 7, 2000, writer Adrian Chamberlain writes: One hundred and sixty-four stamp sheets and thirty eight envelopes have arrived at Open Space gallery for the show, The Popular Art of Postal Parody. Curated by Banana, a former Victorian now living in Roberts Creek, the exhibition is an international retrospective of an underground art phenomenon. The stamps are from Banana’s personal collection, and they hail from Canada, Italy, Germany and American metropolises such as San Francisco, Atlanta and New York City. . .  .   One collection of her stamps, Twenty Years of Fooling Around with A. Banana, even hangs in the House of Commons; one of 18 artworks rented by the Liberal Caucus Research Office from the Canada Council’s Art Bank, as reported in the article Art in Office, in the National Post, April 25, 2000.

Selected Group Network Exhibitions

 * While Banana participated in hundreds of mail-art exhibitions during her 40 years of mail-art practice, some have been in major museums such as:
 * Fluxus to the Internet at Szepmuveszeti Museum, Budapest in 2007
 * Leck Mich!, Lick Me! Artistamps since the 1960s at Neues Museum Weserburg, Bremen 2007
 * Stamp Art and Artists Stamps, Art Institute of Boston, 2000
 * Mail art and Artistamps, Chicago Center for the Book Arts, Columbia College, 1997
 * Browser Box, Artropolis at the Round House, Vancouver, Sept. 1997
 * Image and Text, at Sage Junior College of Albany, 1996
 * Mail Art; Netzwerk der Kunstler, PTT ( postal) Museum, Bern, Switzerland, 1994
 * Third International Artistamp Biennial, Davidson Galleries, Seattle, Dec. 1993
 * Timbres d’Artistes, Musee de la Poste, Paris, Sept. 93-Jan ‘94
 * Some Zines, Boise State University, Oct-Nov 1992
 * Art Travels, Mail Art Festival, National Postal Museum/Museum of Civilization, Hull, QC 1992
 * Pacific Northwest Artistamp Collective, Davidson Galleries, Seattle, WA 1989
 * Vancouver Art & Artists 1931-1983, Vancouver Art Gallery, group exhibit 1983

Citations:

 * In The Rocky Marriage of Words and Art, by William Jaeger, in The Times Union, Albany, NY Jan. 28/96, “It might be no surprise that the most commercial-looking works in the show, by Anna Banana, are highly polished and are fully successful in integrating words and illustration. Each of the four works looks like a page of postage stamps, complete with perforations, repeating sets of four, and so on. But these are invented graphics, of the highest order, from some imaginary country (a Banana republic, I guess.) Owen Sound for your summer Break shows two identical sets of 10 stamps. We see crutches, canes, and bandaged legs and feet (all a pun on the title) overlying a pretty green and blue tourist map of Owen Sound. Banana’s “Ray Johnson Memorial” is a photocopied grid of 32 stamps of the back of artist Shozo Shimamoto’s head, inside of which is a smaller profile of yet another prominent mail artist, the late Ray Johnson;  the most famous obscure mail artist of our times. These bright cyan, pink & yellow stamps are a clever and appropriate homage to Johnson.”


 * In Vancouver Show (Browser Box) presents art-world archive; in the Globe & Mail Nov. 8, 1997, art reviewer Sarah Milroy writes: . . . Some of the boxes’ contents are less interesting than the apparatus for calling them up. But, just as often, the results are delightful, with many of the submissions bearing the light Dadaist touch that has been the hallmark of Vancouver avant-garde art since the 1960s. Some of the artists from Vancouver’s Intermedia glory days resurface in Browser, among them performance artist Anna Banana, who presents her hilarious 1994 multiple book work; Proof Positive that Germany is going Bananas, part of her ‘ongoing study of the banana in contemporary culture’”

Solo and 2-3 Person Exhibitions

 * The Art of Anna Banana, Galerie Galerij, Zierikzee, Netherlands - solo exhibit, May/June 2009
 * Anna Banana: Networking Publications at the Research Center for Artists’ Publications, Weserburg Museum, Bremen, Germany - solo exhibit, Apr. 30-July 30, 2009
 * The Arts of Anna Banana, Sarenco Art Club Gallery, Verona, Italy - solo exhibit & performance, Dec. 1998
 * International Salon des Artistamps, Gallery Fifty-Six, July 1992-3 person exhibit 1992
 * 20 Years of fooling Around with a. Banana, 20 year retrospective, Grunt Gallery, Vancouver. Solo
 * Banana Split, installation in Vancouver’s Warehouse Show, 1984, -also installed, with a performance, Husets Gallery, Copenhagen, Denmark - solo 1982
 * Bananagrams, Union Gallery, San Jose State University, San Jose, CA - solo 1981
 * Banana & Gaglione at Ecart, Geneve, Switzerland and at Stempelplaats Gallery, Amsterdam - duo 1978

Citations:

 * In issue 59 of Parachute Magazine, 1990, critic Karen Henry writes: The exhibition at the Grunt Gallery in February contained a strain of Vancouver’s history and represented one artists’ dedication to a form which began in the group dynamics of the sixties and seventies. Anna Banana has maintained the continuity of her own history with diligence and perseverance. From the revival of the futurist performance works with bill Gaglione, through the era of pop performance personas and publication, and a longstanding adherence to the eternal network of mail art and artists (developing one of the major archival collections of mail art in the country,) she has been a significant contributor to artistic practice on the West Coast.
 * In the January ‘85 edition of ISSUE Magazine (Vancouver) Sara Diamond writes; “Anna Banana’s installation, Banana Split, polarized positive human creativity, represented by placing the artists’ brightly colored banana world against violent inhumane destruction, represented by child murder and rapist, Clifford Olsen. The light side was filled with news items about bananas, objects and documentation of her Banana Events. On the dark side, mangled mannequins dripped blood from their severed limbs, newspaper clippings chronicled the Olsen case and VILE magazine covers.”

Collections
Complete sets of all published works were purchased by
 * Weserburg Museum/Research Centre Artists Publications, Bremen in ‘09
 * Harvard U-Fine Arts Library in ‘09
 * all issues of VILE magazine by Beinecke Rare Book and Manuscript Library, Yale University in ‘06,
 * Smithsonian Institute, Wash.
 * National Gallery of Art, Wash., DC,
 * Museum of Modern Art, NYC
 * Inst. Contemp. Art, Philadelphia
 * Archive Sohm, Germany
 * Museum of Modern Art, San Francisco
 * Pompidou Nat. Museum, Paris
 * Art Gallery of Ontario, Toronto
 * Nat. Art Gallery, Canberra
 * Muse de Art Contemp., Sao Paulo
 * Museo de Bellas Arts, Caracas
 * Otis Art Institute, Los Angeles
 * Vancouver Art Gallery, Van.
 * Sackner Archive, Miami Beach, FL
 * LAICA, Los Angeles, CA
 * NY Public Library, NYC
 * Oakland Museum, Oakland, CA
 * Sculpture Center, Sydney Australia
 * Franklin Furnace, NYC
 * Art Bank, Ottawa
 * National Library Canada, Ottawa
 * National Gallery of Art, Ottawa,
 * Jean Brown Archive, in the J. Paul Getty, Santa Monica, CA
 * National Postal Museum, Ottawa

Canada Council for the Arts Grants

 * 2009- travel grant
 * 2003- travel & creation grant
 * 2001-Banff Centre for the Arts, Co-production residency
 * 2000- Inter-Arts Program; Creation Grant
 * 1999-travel grant/Venice Biennale
 * 1998-travel grant
 * 1993 A grant
 * 1991 Project Cost Grant
 * 1989 Travel Grant
 * 1988 Project Cost Grant
 * 1987-B Grant
 * 1983 Project Costs for About VILE
 * 1982-Project Costs, and travel-tour: Why Banana?
 * 1981-2 - B Grant
 * 1980- Toward the Future- performance tour, Italian futurist sintesi
 * 1980 Canada Council & BC Cultural Fund/Surrey Art Gallery, the Banana Olympics - 1980
 * 1975, 77 and 79 CCLM-Coordinating Council of Literary Awards