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© 2022 Art Canada Institute. All rights reserved. ISBN
978-1-4871-0297-5   Published in Canada   Art Canada
Institute Massey College, University of Toronto 4 Devonshire Place,
Toronto, ON M5S 2E1

 

Copyright & Credits

Acknowledgements

 

From the Author

I am grateful to the traditional keepers of the unceded Coast Salish (where I grew up) and Algonquin Anishnaabeg (where I now work) lands and waters for their generosity, teachings, and continued dialogue. I wish to thank Jin-me Yoon and her studio, the Art Canada Institute, and my colleagues and interlocutors. My deepest gratitude goes to my family, to whom this book is dedicated.

 

From the Art Canada Institute

The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, Eleanor and Francis Shen.

 

We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.

The ACI also thanks the other Title Sponsors of the 2022–2023 Canadian Online Art Book Project: K. James Harrison and Melinda Harrison; Sydney and William R. Pieschel Foundation; Scotiabank; and Morden Yolles.

 

We thank the Art Canada Institute Visionaries: Anonymous; Kiki Delaney, CM, and Ian Delaney; the Honourable Margaret Norrie McCain, CC; The Sabourin Family Foundation; and Gerald Sheff and Shanitha Kachan Charitable Foundation.

 

We are grateful to the Art Canada Institute Leaders: Anonymous; Alexandra Baillie; Alexandra Bennett; Grant and Alice Burton; Jamie Cameron and Christopher Bredt; Claudine and Stephen Bronfman Family Foundation; The Connor, Clark & Lunn Foundation; Jon S. Dellandrea, CM, and Lyne Dellandrea; Linda and Steven Diener; Roger and Kevin Garland; Joan and Martin Goldfarb; Tim and Darka Griffin; K. James Harrison and Melinda Harrison; The Henry White Kinnear Foundation; The Jack Weinbaum Family Foundation; Jean Paul Riopelle Foundation; Michelle Koerner and Kevin Doyle; Alan and Patricia Koval Foundation; Christine Laptuta; Janet and Willard L’Heureux; Karen Girling and Bruce MacLellan; Liza Mauer and Andrew Sheiner; Nancy McCain and Bill Morneau; The McLean Foundation; The Michael and Sonja Koerner Charitable Foundation; John Mulvihill, CM, and Nancy Mulvihill; The Scott Griffin Foundation; Andrew Stewart; TD Bank Group; Trinity Development Foundation; Fred and Linda Waks; Bruce V. Walter and Erica Walter; Susan Wortzman; Jane Zeidler; Joyce Zemans, CM, and Fred Zemans; and Sara and Michael Angel.

 

Appreciation goes as well to our Patrons: Diana Billes; Eric and Jodi Block; Anne-Marie Canning; Cowley Abbott; Mike and Kim Downs; Lilly Fenig; Jane and Michael Freund; Leslie S. Gales and Keith Ray; Katherine Graham Debost; Reesa Greenberg; Graham and Mary Hallward; KPMB Architects; Marcia McClung and Franklyn Griffiths; Marci McDonald and St. Clair Balfour; Trina McQueen; Elaine Kierans and Shawn McReynolds; Norman and Margaret Jewison Charitable Foundation; Gilles and Julia Ouellette; Sandra Pitblado, CM, and Jim Pitblado, CM; The Richard and Beryl Ivey Fund within the London Community Foundation; Michael and Renae Tims; Carol Weinbaum; Michael Simmonds and Steven M. Wilson; and Robin and David Young.

 

The Art Canada Institute extends deep thanks to Jin-me Yoon and her colleagues for the tremendous support with this project at every stage of production. As well, we thank the following for their assistance: Agnes Etherington Art Centre, Kingston (Jennifer Nicoll, Grace LeSurf); Art Gallery of Nova Scotia, Halifax (Shannon Parker); Artspeak, Vancouver (Alexandra Bischoff); Associated Press Images (Kathryn Parent); Australian Centre for Contemporary Art, Melbourne (Grace Fraraccio); Berkeley Art Museum and Pacific Film Archive (Laura Graziano); Blum and Poe, Los Angeles, California (Audrey Warne); Canadian Press Images (Andrea Gordon); Carleton University Art Gallery, Ottawa (Sandra Dyck); Character Media, Gardena, California; Contemporary Art Gallery, Vancouver (Kolton Procter); Copyright Visual Arts, Montréal (Marcia Lea); Dalhousie Art Gallery, Halifax (Sym Corrigan); Estate of Alex Colville (Ann Kitz); Estate of Lawren Harris (Stewart Sheppard); Estate of Tseng Kwong Chi/Muna Tseng Dance Projects, New York (Cindy Lee); Estate of James Luna/Garth Greenan Gallery, New York (Niki Hunt); Estate of Nobuo Sekine (Yoko Sekine); Hauser & Wirth, London (Rosa Bacile) and Zurich (Valeria Bruecker, Anna Caruso); Jenny Holzer Studio (Eric Sumption); KBS Media, Seoul, Korea (Moosung Kang); Kiang Malingue, Hong Kong (Ella Liao); Macaulay & Co. Fine Art (Nikki Peck); Mitchell-Innes & Nash, New York (Isabelle Hogenkamp); Morris and Helen Belkin Art Gallery, Vancouver (Teresa Sudeyko, Karen Zalamea); National Film Board of Canada, Montréal (Alexandra Hubert, Michael Shu); National Gallery of Canada, Ottawa (Raven Amiro, Philip Dombowsky); RMN-Grand Palais, Paris; Scotiabank; Scotiabank CONTACT Festival, Toronto (Brian St. Denis); SFU Galleries, Burnaby (Christina Hedlund); SOCAN (Jane Labiak); Sprüth Magers, Berlin (Monika Simm); Stanford University Press, Redwood City, California (Kristen Spina Harrison); Studio Lee Bul, Seoul, Korea (Chloe Cho, Shinmyung Oh, Olive Han); Vancouver Art Gallery (Danielle Currie); Victoria & Albert Museum, London (Freya Levett); and Jeff Wall Studio (Cora Hall). As well, thank you to Sarah Cameron Sunde, Steven Cottingham, Shawna Dempsey and Lorri Millan, Rosalie Favell, Vera Gamboa, Jamelie Hassan, Faye HeavyShield, Tehching Hsieh (Maya Houng), Tiaré Jung, Lisa Kahane, Sharon Kahanoff, Mary Kelly, Barbara Kruger, Ken Lum, Koizumi Meiro, Tzu Nyen Ho, Alanis Obomsawin, Adria Otte, Lawrence Paul Yuxweluptun, Marian Penner Bancroft, Ingrid Pollard, Arthur Renwick, Pipilotti Rist, Cindy Sherman, Lisa Steele, Jeff Thomas, Reiko Tomii, and Camille Turner.

 

The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.

 

 

IMAGE SOURCES

Every effort has been made to secure permissions for all copyrighted material.
The Art Canada Institute will gladly correct any errors or omissions.

 

 

Credit for Cover Image

 

Jin-me Yoon, A Group of Sixty-Seven (detail), 1996. (See below for details.)

 

Credits for Banner Images

 

Biography: Jin-me Yoon. (See below for details.)
Key Works: Jin-me Yoon, Long View 1, 2017. (See below for details.)
Significance & Critical Issues: Jin-me Yoon, Souvenirs of the Self (Lake Louise), 1991. (See below for details.)
Style & Technique: Jin-me Yoon, Mul Maeum (video still), 2022. (See below for details.)
Sources & Resources: Jin-me Yoon, Long View 2, 2017. (See
below for details.)
Where to See: Jin-me Yoon, Installation view of Saekdong Skies: Other Ways Through, 2020. (See below for details.)
Credits: Jin-me Yoon, A Group of Sixty-Seven (detail), 1996. (See below for details.)

 

Credits for Works by Jin-me Yoon

 

As It Is Becoming (Beppu: Atomic Treatment Centre) (video still), 2008. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
As It Is Becoming (Seoul) (video still), 2008. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
As It Is Becoming (Seoul) (video still), 2008. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
between departure and arrival, 1997, installation view at Musée d’art de Joliette, 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Paul Litherland.
Dreaming Birds Know No Borders (video still), 2021. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul) (video still), 2006. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
The dreaming collective knows no history (US Embassy to Japanese Embassy, Seoul) (video still), 2006. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Ear to Ground (video still), 2012. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Fugitive (Unbidden) 3, 2004. Collection of the National Gallery of Canada, Ottawa, purchased 2007 (2007.15). Courtesy of the artist. © Jin-me Yoon.
Fugitive (Unbidden) 5, 2004. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (97.2a-eeeeee), and Collection of the Portrait Gallery of Canada / Library and Archives Canada, Ottawa, Purchase, 2006 (R12594). Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (97.2a-eeeeee), and Collection of the Portrait Gallery of Canada / Library and Archives Canada, Ottawa, Purchase, 2006 (R12594). Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (front detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (VAG 97.2 a-eeeeee). Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (front detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (VAG 97.2 a-eeeeee). Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (back detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (VAG 97.2 a-eeeeee). Courtesy of the artist. © Jin-me Yoon.
A Group of Sixty-Seven (back detail), 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (VAG 97.2 a-eeeeee). Courtesy of the artist. © Jin-me Yoon.
Contact sheet, c.1980s, research from the Korean Collection, Museum of Anthropology, University of British Columbia, Vancouver. Courtesy of the artist.
Installation detail of between departure and arrival, 1997, at the Art Gallery of Ontario, 1997. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Art Gallery of Ontario.
Installation view of As It Is Becoming (Seoul), 2008, at Kamloops Art Gallery, 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Scott Massey.
Installation view of Beneath, 2012, at the Vancouver Art Gallery, 2012. Courtesy of the artist. © Jin-me Yoon. Photo credit: Vancouver Art Gallery.
Installation view of between departure and arrival, 1997, at Musée d’art de Joliette, 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Paul Litherland.
Installation view of Carrying Fragments (Untunnelling Vision), 2020, and Saekdong Skies: Other Ways Through, 2020, at TRUCK Contemporary Art Gallery, Calgary, 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Brittany Nickerson.
Installation view of A Group of Sixty-Seven, 1996. Collection of the Vancouver Art Gallery, Purchase, 2004 (VAG 97.2 a-eeeeee). Courtesy of the artist. © Jin-me Yoon. Photo credit: Rachel Topham / Museum of Vancouver.
Installation view of Imagining Communities at Artspeak, Vancouver, 1996. Photo credit: Kim Clarke.
Installation view of Imagining Communities at Artspeak, Vancouver, 1996. Photo credit: Kim Clarke.
Installation view of Other Hauntings (Song), 2016. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Sean Fenzl / Nanaimo Art Gallery.
Installation view of Saekdong Skies: Other Ways Through, 2020, at TRUCK Contemporary Art Gallery, Calgary, 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Brittany Nickerson.
Installation view of Regard, 1999. Collection of the Australian Centre for Contemporary Art, Melbourne. Courtesy of the artist and the ACCA Archive. © Jin-me Yoon.
Installation view of Souvenirs of the Self, 1991. Courtesy of the artist. © Jin-me Yoon. Photo credit: Scott Massey.
Installation view of Souvenirs of the Self (postcard set), 1991. Various collections. Courtesy of the artist. © Jin-me Yoon. Photo credit: Sean Fenzl / Nanaimo Art Gallery, 2017.
Installation view of Touring Home From Away, 1998, at Musée d’art de Joliette, 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Paul Litherland / Musée d’art de Joliette.
Installation view of Channel (Unbidden), 2003; (it is this/it is that), 2004, at Musée d’art contemporain des Laurentides, 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Lucien Lisabelle.
Intersection 1 (left panel detail), 1996. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 1 (right panel detail), 1996. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 2 (left panel detail), 1998. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 2 (right panel detail), 1998. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 3 (left panel detail), 2001. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 3 (right panel detail), 2001. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 5 (left panel detail), 2001. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Intersection 5 (right panel detail), 2001. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Levels 1 (Time New Again), 2010/22. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Living Time (video still), 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Living Time 1 (left panel detail), 2019 diptych. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Living Time 1 (right panel detail), 2019, diptych. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Long View (video still), 2017. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Long View 1, 2017. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Long View 2, 2017. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mailer for Yellow Peril: Reconsidered, 1990–91, touring exhibition curated by Paul Wong. Image from (Inter)reference Part 1, (Im)permanent (Re)collection (detail), 1990. Collection of the artist. Courtesy of Yoon Studio. © Jin-me Yoon.
Matter Flows and Forces, 2018. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Mul Maeum (video still), 2022. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Other Hauntings (Dance) (video still), 2016. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Other Hauntings (Dance) (video still), 2016. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Other Hauntings (Song) (video still), 2016. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Other Hauntings (Song) (video still), 2016. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Questions of Home I, 1994, by Jin-me Yoon and Susan Edelstein. Vancouver Association for Noncommercial Culture fonds. Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver. Courtesy of the Morris and Helen Belkin Art Gallery. © Jin-me Yoon and Susan Edelstein.
Questions of Home II, 1994, by Jin-me Yoon and Susan Edelstein. Vancouver Association for Noncommercial Culture fonds. Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver. Courtesy of the Morris  and Helen Belkin Art Gallery. © Jin-me Yoon and Susan Edelstein.
Rubble (Untunnelling Vision), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Rubble in Rubbleland (Untunnelling Vision), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Screens (detail), 1992. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Souvenirs of the Self (Banff Springs Hotel), 1991. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Souvenirs of the Self (Bankhead), 1991. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Souvenirs of the Self (Lake Louise), 1991, printed 1996. CMCP Collection, National Gallery of Canada, Ottawa, Purchase, 1996 (EX-96-88). Courtesy of the National Gallery of Canada and the artist. Photo: NGC. © Jin-me Yoon.
Souvenirs of the Self (postcard set cover), 1991. Collection of SFU Art Collection, Burnaby, Gift of the artist, 2015 (WA05587). Courtesy of the artist. © Jin-me Yoon.
Souvenirs of the Self (Rocky Mountain Bus Tour), 1991–2000. Collection of the MacKenzie Art Gallery, Regina, purchased with the financial support of the Canada Council for the Arts Acquisition Assistance Program (2001-3). Courtesy of the artist. © Jin-me Yoon.
Testing Ground (video still), 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Testing Ground (video still), 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
This Time Being, 2, 2013. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
This Time Being, 5, 2013. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
This Time Being, 7, 2013. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
This Time Being, 9, 2013. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Touring Home From Away (back panel), 1998. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Two figures standing in front of a golf course with their backs to the camera
Touring Home From Away (back panel), 1998. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Touring Home From Away (front panel), 1998. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Turn (video still), 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Turn (video still), 2019. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Turning Time (Pacific Flyways), 2022, installation view at the Vancouver Art Gallery. Collection of the artist. Courtesy of the artist. © Jin-me Yoon. Photo credit: Ian Lefebvre.
Untunnelling Vision (video excerpt as GIF), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Untunnelling Vision (video still), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Untunnelling Vision (video still), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Untunnelling Vision (video still), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.
Upon the Wreckage (Untunnelling Vision), 2020. Collection of the artist. Courtesy of the artist. © Jin-me Yoon.

 

 

Credits for Photographs and Works by Other Artists

 

African Notes Parts 1 and 2 (detail), 1983/2021, by Laiwan. Collection of the Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, purchased with support from the Canada Council for the Arts and the Morris and Helen Belkin Foundation, 2021. Courtesy of the Morris and Helen Belkin Art Gallery © Laiwan.
Artifact Piece, 1987/90, by James Luna. Courtesy of the Estate of James Luna and Garth Greenan Gallery, New York. © Estate of James Luna.
The Bear Portraits: 1996 F.B.I. Samuel de Champlain Monument #1, Ottawa, Ontario, 1996, by Jeff Thomas. Collection of the artist. Courtesy of the artist. © Jeff Thomas.
Birthday Suit: with scars and defects (video still), 1974, by Lisa Steele. Collection of the Agnes Etherington Art Centre, Kingston, Purchase, Olympic project funding, 1976 (19-090). Courtesy of VTape, Toronto. © Lisa Steele. © Visual Arts-CARCC, 2022.
By Land and Sea (Prospect and Refuge): The 700-year-old oak at Chortitza, site of the first Mennonite gathering in South Russia in 1789, 1999–2000, by Marian Penner Bancroft. Collection of the artist. Courtesy of the Vancouver Art Gallery. © Marian Penner Bancroft.
Package sent to Jin-me Yoon from James Luna, June 3, 1997. Collection of the artist. Courtesy of the artist.
Chung Soon Chin Yoon holding Jin-me Yoon, c.1960, photographer unknown. Collection of the artist. Courtesy of the artist.
Chung Soon Chin and Myung Choong Yoon at Gimpo International Airport, Seoul, before his departure to Canada in 1966, photographer unknown. Collection of the artist. Courtesy of the artist.
The Collector / The Artist in Her Museum, 2005, by Rosalie Favell. Collection of the National Gallery of Canada, Ottawa, Purchase, 2008 (42458). Courtesy of the artist. © Rosalie Favell.
Cover of a trilingual (Korean, French, English) digital publication produced by Carleton University Art Gallery, Ottawa, 2021. Courtesy of Carleton University Art Gallery, Ottawa. © Jin-me Yoon.
Cover of Compositional Subjects: Enfiguring Asian/American Women (Durham: Duke University Press, 2002).
Cover of Global Photography: A Critical History (London and New York: Routledge). Courtesy of Routledge, Taylor & Francis Group. 
Cover of Facing History: Portraits from Vancouver (Vancouver: Presentation House Gallery, 2004).
Cover of Faking Death: Canadian Photography and the Canadian Imagination (Montreal: McGill-Queen’s University Press, 2003).
Cover of Jin-me Yoon: About Time (Vancouver: Vancouver Art Gallery; Munich: Hirmir Verlag, 2022).
Cover of Jin-me Yoon: between departure and arrival (Vancouver: Western Front, 1998).
Cover of Other Places: Reflections on Media Arts in Canada (Toronto: Media Arts Network of Ontario and Public Books, 2019).
Cover of Jin-me Yoon (Göttingen: Steidl Verlag, 2022). Courtesy of Steidl Verlag.
Cravings, 1988, by Lee Bul. Courtesy of the artist. © Lee Bul. Photo credit: Choi Jeong Hwa.
Edward Burtynsky and Jin-me Yoon at the Scotiabank Photography Award, 2022.
Exhibition banner for The Group of Seven: Art for a Nation at the National Gallery of Canada, Ottawa in 1995. Courtesy of the National Gallery of Canada, Ottawa. Photo credit: NGC.
‘…feeling I don’t belong. Walks through leafy glades with a baseball bat by my side…’, 1987, by Ingrid Pollard. Collection of the Victoria & Albert Museum, London, Accession, 1993 (E.725-1993). Courtesy of the Victoria & Albert Museum. © Ingrid Pollard/SOCAN, 2022.
Feral Atlas: Empire—Anthropocene Detonator Landscape, by Anna Lowenhaupt Tsing, Jennifer Deger, Alder Keleman Saxena, and Feifei Zhou (Stanford: Stanford University Press, 2021).
Graphic recording / Drawing Change from the workshop “Relation Making in the Context of Racism and Settler-Colonialism,” 2019, by Tiaré Jung. Courtesy of the artist. © Tiaré Jung.
Graphic recording / Drawing Change from the workshop “Relation Making in the Context of Racism and Settler-Colonialism,” 2019, by Tiaré Jung. Courtesy of the artist. © Tiaré Jung.
Gureombi rocks on Jeju Island, South Korea, 2012, by Adria Otte. Collection of Adria Otte. Courtesy of Adria Otte/Flickr. © Adria Otte.
Heldenplatz in Vienna, Austria, 1938. Courtesy of Wikimedia Commons.
Hometown Queen, 2002, by Camille Turner. Composited by Camille Turner, photographs by Patrick Ellard and Barbara Greczny. Collection of the artist. Courtesy of the artist. © Camille Turner.
Hotel Aporia, 2019, by Ho Tzu Nyen. Collection of the artist. Courtesy of the artist. © Ho Tzu Nyen. Photo credit: Takeshi Hirabayashi.
Indian World My Home and Native Land, 2012, by Lawrence Paul Yuxweluptun. Collection of the artist. Courtesy of Macaulay & Co Fine Art, Vancouver. © Lawrence Paul Yuxweluptun.
Installation view of Magiciens de la terre, Pompidou Centre, Paris, 1989. Collection of Centre Pompidou, MNAM-CCI, Kandinsky Library, Paris (EX320). Photo credit: RMN-Grand Palais, Paris / Béatrice Hatala / Konstantinos Ignatiadis. © Barbara Kruger / Sprüth Magers Berlin-London.
Jin-me Yoon. Courtesy of the artist. Photo credit: Ian Kenji Barbour.
Jin-me Yoon. Courtesy of the artist. Photo credit: Jae Woo Kang.
Jin-me Yoon at her BFA Graduation Exhibition, Emily Carr Institute of Art & Design, 1990, photographer unknown. Collection of the artist. Courtesy of the artist.
Jin-me Yoon and Ian Kenji Barbour on Jeju Island, South Korea shooting Mul Maeum, 2019, photographer unknown. Courtesy of the artist.
Jin-me Yoon in New York City, early 1990s, photographer unknown. Courtesy of the artist.
Lesbian National Parks and Services, 1997, by Shawna Dempsey and Lorri Millan. Collection of the artists. Courtesy of the artists. © Shawna Dempsey and Lorri Millan. Photo credit: Don Lee / The Banff Centre, 1997.
Maligne Lake, Jasper Park, 1924, by Lawren Harris. Collection of the National Gallery of Canada, Ottawa, Purchased 1928 (3541). Courtesy of the National Gallery of Canada. © Estate of Lawren Harris.
Meeting Nasser, 1985, by Jamelie Hassan. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Canada Council Art Bank, Ottawa, Ontario, 2003 (2003.79). Courtesy of the Dalhousie Art Gallery, Halifax. Photo credit: Wes Johnston. © Jamelie Hassan.
Mercy Garden Retour Skin, 2014, by Pipilotti Rist with sound by Heinz Rohrer. Courtesy the artist, Hauser & Wirth and Luhring Augustine, Zurich. © Pipilotti Rist. Photo credit: James Horan.
Meshes of the Afternoon (film still), 1943, by Maya Deren. Courtesy of Wikimedia Commons.
Milk, 1984, by Jeff Wall. Collection of the Museum of Modern Art, New York, Acquired through the Mary Joy Thomson Legacy (480.2004). Courtesy of the artist. © Jeff Wall Studio.
Newspaper clipping about “Articulations of Korean Women” featured in KoreAm Journal, May-June 1994. Collection of Character Media, Gardena, CA. Courtesy of Character Media. © Character Media.
New York, New York, 1979, by Tseng Kwong Chi. Courtesy of Muna Tseng Dance Projects, New York. © Estate of Tseng Kwong Chi/Muna Tseng Dance Projects.
New York, New York, 1979, by Tseng Kwong Chi. Courtesy of Muna Tseng Dance Projects, New York. © Estate of Tseng Kwong Chi/Muna Tseng Dance Projects.
A North Korean soldier looks toward the South side through a pair of binoculars in between two South Korean soldiers at the demilitarized zone (DMZ) in the Joint Security Area border village of Panmunjom in 2003. Courtesy of Canadian Press Images. © Associated Press Images. Photo credit: Vincent Yu/Associated Press.
Nude Descending a Staircase (No.2), 1912, by Marcel Duchamp. Collection of the Philadelphia Museum of Art, The Louise and Walter Arensberg Collection (1950-134-59).
Old Time Coast Village, 1929–30, by Emily Carr. Collection of the Vancouver Art Gallery, Emily Carr Trust (42.3.4). Courtesy of the Vancouver Art Gallery.
One Year Performance, First Three Hours and Last Three Hours, 1983–1984, by Tehching Hsieh. Collection of the artist. Courtesy of the artist. © Tehching Hsieh.
Phase–Mother Earth, 1968, by Nobuo Sekine. Courtesy of the Estate and Blum & Poe, Los Angeles/New York/Tokyo. © Nobuo Sekine Estate. Photo credit: Osamu Murai.
Picture for Women, 1979, by Jeff Wall. Collection of Centre Georges Pompidou, Paris, Purchase, 1987 (AM 1987-1135). Courtesy of the artist. © Jeff Wall Studio.
Post-Partum Document: Documentation IV—Transitional Objects, Diary and Diagram, 1976, by Mary Kelly. Collection of the Zurich Museum. Courtesy of the artist and Mitchell-Innes & Nash, New York. © Mary Kelly.
Poster for In Visible Colours: Women of Colour and Third World Women Film/Video Festival and Symposium, 1989. Courtesy of Media Arts Network of Ontario, Toronto.
Pride march in New York City with Act Up activists, 1987. Directphoto Collection / Alamy Stock Photo.
Relatum (formerly Phenomena and Perception B), 1969/2012, by Lee Ufan. Courtesy of the artist and Blum and Poe, New York. © Lee Ufan/SOCAN 2022. Photo credit: Joshua White.
Richard Cardinal: Cry from a Diary of a Métis Child (video still), 1986, by Alanis Obomsawin. Collection of the National Film Board, Montreal. Courtesy of the National Film Board. © Alanis Obomsawin.
Scotiabank CONTACT Photography Festival award ceremony for Jin-me Yoon, 2022. Courtesy of Scotiabank, Toronto.
Sisters, 1993, by Faye HeavyShield. McMichael Canadian Art Collection, Kleinburg, Ontario, Purchase, 1995 (1995.2.A-L). Courtesy of the McMichael Canadian Art Collection. © Faye HeavyShield.
South Koreans watching KBS broadcast Finding Dispersed Families, 1983, photographer unknown. Collection of KBS Archives, Seoul. Courtesy of KBS Archives.
Still Life with Aubergines (Intérieur aux aubergines), 1911, by Henri Matisse. Collection of Musée de Grenoble, gift of the artist and his family, 1922 (MG 2161). Courtesy of Musée de Grenoble.
The Theatre Box (La Loge), 1874, by Pierre-Auguste Renoir. Collection of the Courtauld Gallery, London (P.1948.SC.338). Courtesy of the Courtauld Gallery.
There is no place like home installed at Kunsthalle, Vienna, 2001, by Ken Lum. Collection of the artist. Courtesy of the artist. © Ken Lum.
36.5 / A Durational Performance with the Sea, 2013, by Sarah Cameron Sunde. Photo credit: Jonas de Witte.
To Prince Edward Island, 1965, by Alex Colville. Collection of the National Gallery of Canada, Ottawa, purchased 1966 (14954). Courtesy of the National Gallery of Canada. © NGC.
Untitled Film Still #17, 1978, reprinted 1998, by Cindy Sherman. Collection of the Tate Gallery, London, Presented by Janet Wolfson de Botton, 1996 (P11516). Courtesy the artist, Hauser & Wirth and Luhring Augustine, Zurich. © Cindy Sherman.
Untitled (the Sand Grain Story), 1980, by Theresa Hak Kyung Cha. Collection of University of California, Berkeley Art Museum and Pacific Film Archive; gift of the Theresa Hak Kyung Cha Memorial Foundation. Courtesy of the Berkeley Art Museum and Pacific Film Archive. © Theresa Hak Kyung Cha Memorial Foundation.
Voice of a Dead Hero, 2010, by Koizumi Meiro. Collection of the artist. Courtesy of the artist. © Koizumi Meiro.
Wet’suwet’en, British Columbia, 2005, by Arthur Renwick. Collection of the artist. Courtesy of the artist. © Arthur Renwick.
Yoon family in Iri (now Iksan), North Jeolla Province, date unknown, photographer unknown. Collection of the artist. Courtesy of the artist.
Yoon extended family welcoming family visiting from Korea at the Vancouver Airport c.1975, photographer unknown. Collection of the artist. Courtesy of the artist.

 

 

Book Credits

 

Publisher

Sara Angel

 

Deputy Director

Jocelyn Anderson

 

French Editorial Director
Annie Champagne

 

Senior Designer

Simone Wharton

 

Editor

Cy Strom

 

Proofreader

Clare Sully-Stendahl

 

Translator

Christine Poulin

 

French Copyeditor

Ginette Jubinville

 

French Proofreader

Julien-Claude Charlebois

 

Design & Layout Associate

Barbara Campbell

 

Image Research Associate
Emily Putnam

 

Design Template
Studio Blackwell

 

 

Copyright

© 2022 Art Canada Institute. All rights reserved.

Art Canada Institute
Massey College, University of Toronto
4 Devonshire Place
Toronto, ON M5S 2E1

 

Library and Archives Canada Cataloguing in Publication

Title: Jin-me Yoon : life & work / Ming Tiampo.
Names: Tiampo, Ming, author. | Art Canada Institute, publisher.
Description: Issued also in French under title: Jin-me Yoon : sa vie et son œuvre. | Includes bibliographical references.
Identifiers: Canadiana 20220455201 | ISBN 9781487102975 (HTML) | ISBN
9781487102968 (PDF)
Subjects: LCSH: Yoon, Jin-me, 1960- | LCSH: Yoon, Jin-me,
1960-—Criticism and interpretation. |
LCSH: Artists—Canada—Biography. | LCGFT: Biographies.
Classification: LCC N6549.Y66 T53 2022 | DDC 709.2—dc23

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