Recognition of Yoon’s work has come slowly and has been driven primarily by public galleries, artist-run centres, and academic discourse. She was represented by Catriona Jeffries Gallery in Vancouver from 1996 to 2014, and she has been honoured with several major exhibitions in recent years, most notably About Time (Vancouver Art Gallery, 2022) and Jin-me Yoon: Scotiabank Photography Award (The Image Centre, Toronto, 2023). Significant publications addressing all periods of Yoon’s work have been authored by prominent academics such as Sarah Casteel, Penny Cousineau-Levine, Iyko Day, Lynda Jessup, Hyun Yi Kang, Martha Langford, Erin Manning, and Dylan Robinson. Furthermore, a generation of emerging curators and intellectuals such as Areum Kim, Victoria Nolte, Liz Park, Joni Low, Euijung McGillis, and Kristina Lee Podesva are adding to the scholarly attention devoted to Yoon.


Jin-me Yoon, Installation view of As It Is Becoming (Seoul), 2008, multi-channel video installation, dimensions variable, varied durations: 2:12 to 5:57, at Kamloops Art Gallery, 2022, photograph by Scott Massey.
Jin-me Yoon, Installation view of Carrying Fragments (Untunnelling Vision), 2020, painted fabricated rocks and rubble, dimensions variable (in foreground); Saekdong Skies: Other Ways Through, 2020, inkjet canvases and birch wood, 185 x 74 x 80 cm (in midground), TRUCK Contemporary Art Gallery, Calgary, photograph by Brittany Nickerson.



Selected Solo Exhibitions



(In)authentic (Re)search, Women in Focus Gallery, Vancouver.


Souvenirs of the Self, Edmonton Art Gallery; Walter Phillips Gallery, Banff.


Screens, Gallery Bourget, Concordia University, Montreal.


Imagining Communities (bojagi), Artspeak Gallery, Vancouver.

Souvenirs of the Self, Red Eye Gallery, Rhode Island School of Design, Providence.


between departure and arrival, Western Front Gallery, Vancouver.


A Group of Sixty-Seven (Gifting Set), Korean Community Centre, Vancouver.


Welcome Stranger Welcome Home, Glenbow Museum, Calgary.

Touring Home from Away, Presentation House Gallery, North Vancouver.


Unbidden, Kamloops Art Gallery.


Unbidden, Mount St. Vincent Art Gallery, Halifax; Oakville Gallery.

Open House, Video In, Vancouver.


Unbidden, National Gallery of Canada (Canadian Museum of Contemporary Photography), Ottawa; Ssamzie Space, Seoul; Kenderdine Art Gallery, Saskatoon.


Unbidden, Southern Alberta Art Gallery of Alberta, Lethbridge.


Passages through Phantasmagoria, Centre culturel canadien, Paris.


Connecting to Collections, Glenbow Museum, Calgary.


Reservoir, Gallery II, Washington State University, Pullman, Washington.


Extended Temporalities, Pollock Gallery, Meadows School of the Arts, SMU Dallas.


Long View, LandMarks2017/Repères2017, Pacific Rim National Park Reserve.

Spectral Tides, Nanaimo Art Gallery.

Other Hauntings, Momenta, Biennale De L’Image, Montreal.

Iyeodosana:gives-on-and-with, Korean Cultural Centre, Ottawa.


Transnational Currents: Here and There Across the Pacific, ArtspaceC, Jeju City.


Living Time From Away/Temporalités depuis l’ailleurs, Musée d’art de Joliette.

Here Elsewhere Other Hauntings/Ici alleurs d’autres spectres, Musée d’art contemporain des Laurentides, Saint-Jérôme.


Untunnelling Vision, Truck Gallery (in partnership with M:ST), Calgary.

Ici alleurs d’autres spectres, Musée régional de Rimouski.


Living Time From Away, Musée des beaux-arts de Sherbrooke.

Here Elsewhere Other Hauntings (an experiment in pandemic times), Carleton University Art Gallery, Ottawa.

Ici alleurs d’autres spectres, Musée d’art de Rouyn-Noranda.

Dreaming Birds Know No Borders, Corrigan Nature House, North Vancouver.


About Time, Vancouver Art Gallery.

Here Elsewhere Other Hauntings, Kamloops Art Gallery; Southern Alberta Art Gallery, Lethbridge.


Jin-me Yoon: Scotiabank Photography Award, The Image Centre, Toronto.

Long Time So Long, Evergreen Cultural Centre, Coquitlam.

Dreaming Birds, Becoming Crane, Carleton University Art Gallery, Ottawa.



Selected Group Exhibitions



Others Among Others, a parallel exhibition to In Visible Colours: Third World and Women of Colour Film/Video Festival and Symposium, Women in Focus Gallery, Vancouver.


Yellow Peril Reconsidered: Oboro, Montreal; Gallery 44, Toronto; Plug-In Inc., Winnipeg; Eye Level Gallery, Halifax; Galerie Saw, Ottawa; Contemporary Art Gallery, Vancouver.


Heroic Romance, U.B.C. Fine Arts Gallery, Vancouver.


Art and Photography, Seoul Art Center.

A Group of Seven, Third Istanbul Biennial of Contemporary Art.

Souvenirs of the Self, Korean American Arts Festival, Berkeley.

Caught Between the Sheets, Los Angeles Photography Center.

Body Takes, Toronto Photographers Workshop.

Travel Documents, SF Camerawork, San Francisco.

Know No Boundaries, Public art project for Skytrain Station, Vancouver.

Heroic/Romance, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver.

Le Mois de la Photo a Montreal, Maison de la Culture Marie-Uguay, Montreal.


Across the Pacific: Contemporary Korean and Korean-American Art, Queens Museum of Art, New York.

Art About Public Issues, Artropolis, Vancouver.

Margins of Memory, Art Gallery of Windsor.

Book Ends and Odd Books: Publications Refuting Conventional Form, Walter Phillips Gallery, Banff.

Social Subjects, YYZ, Toronto.

World of Difference: Art, Tourism and Cultural Dialogues, Euphrat Gallery Cupertino, Cupertino, California.

Corpus, Mendel Art Gallery, Saskatoon; Walter Phillips Gallery, Banff.


Picturing Asia America: Communities, Culture, Difference, Houston Center for Photography.

Benchremarks: A Public Project, collaborative site-specific work with Susan Edelstein, Association for Noncommercial Culture fonds, Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver.

Generations, Burnaby Art Gallery.

Book Ends and Odd Books: Publications Refuting Conventional Form, Artspeak, Vancouver.

Telling…Stories, Randolph Street Gallery (School of the Art Institute of Chicago).

A/PI* Eclectic, Seattle Central Community College Art Gallery.
Across the Pacific: Contemporary Korean and Korean-American Art, Kumho Museum, Seoul.

Channel: OPEN Project, Ideal Copy, Kyoto.


Artists Today, Asia-Pacific Universe: Contemporary Art from Australia, Canada, China, India, Japan, Philippines, Yokohama Citizens’ Gallery.

Picture Theory, YYZ, Toronto.

The Spectacular State: Fascism and the Modern Imagination, Fotobase Gallery, Vancouver.


Topographies: Aspects of Recent British Columbia Art, Vancouver Art Gallery.

Vancouver Perspectives, Yokohama Citizens Gallery.

The Culture of Nature, Kamloops Art Gallery.

Fertile Ground, Agnes Etherington Gallery at Queens University, Kingston, Ontario.

Before the Land-Behind the Camera, Canadian Museum of Contemporary Photography, Ottawa.

Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography, Portland Institute for Contemporary Art.

Urban Fictions, Presentation House Gallery, North Vancouver.


Vancouver Perspectives, Taipei Fine Art Museum.

Browser, Artropolis ‘97, Vancouver.

Extreme Close Up: The Body, Kenderdine Gallery, University of Saskatoon, Saskatchewan.

Jin-me Yoon and Kim Yasuda: The Distance Between, Art Gallery of Ontario, Toronto.

State(s) of Nation, Confederation Centre of the Arts, Charlottetown.

Fertile Ground, Oakville Galleries.

Before the Land, Behind the Camera, Owens Art Gallery, Mount Allison University, Sackville, New Brunswick.

Iceflow (Website Exhibition), Images Independent Film and Video Festival, Toronto.


Unbound Geographies/Fused Histories, A Space, Toronto.

Crossings/Traversées, National Gallery of Canada, Ottawa.

Korean WRAPsody: The Visual Legacy of Pojagi, Korean American Museum, Los Angeles.

Before the Land, Behind the Camera, Galerie d’art de Sudbury; Tom Thomson Memorial Art Gallery, Owen Sound, Ontario; Illingworth Kerr Gallery, Alberta College of Art, Calgary; Frederick Horsman Varley Art Gallery of Markham, Unionville, Ontario.


Recollect, Vancouver Art Gallery.

The New Republics, Lethaby Gallery, Central Saint Martins College of Art & Design, London; Bluecoat Gallery, Liverpool; Canada House, London.

Unbound Geographies/Fused Histories, A Space, Toronto.

L’autre en soi/The Other Within, Musée Regional de Rimouski.

Lost Homelands, Confederation Centre Art Gallery, Charlottetown; MacKenzie Art Gallery, Regina.

Face to Face: Four Centuries of Portraits, Vancouver Art Gallery.


The New Republics, Australian Center for Contemporary Art, Melbourne; Canberra School of Art; UniSA Art Museum, Adelaide; Edmonton Art Gallery.

Beaver Tales, Oakville Galleries.

Image and Light, History and Influence: Film and Photographic Works, Charles H. Scott Gallery, Vancouver.

Lost Homelands, Leonard and Bina Ellen Art Gallery, Montreal.


Portraits: Unsettled Subjects, Mount Saint Vincent University Art Gallery, Halifax.

Facing History: Portraits from Vancouver, Presentation House Gallery, North Vancouver.

Signal & Noise Festival of Contemporary Media, Video In Studios, Vancouver.

25 Artists, 25 Years, Leonard and Bina Ellen Art Gallery, Concordia University, Montreal.


Containers, Marronnier Art Center, Seoul.
East Asian Women and Herstories, Seoul Women’s Community Centre.
Family, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut.

This Place, Vancouver Art Gallery.
Lost Homelands, Kamloops Art Gallery; Art Gallery of Mississauga.


Home and Away, Vancouver Art Gallery.
MosaiCanada: Sign and Sound, Seoul Museum of Art.

In Place: Selections from the MacKenzie Art Gallery Collection, MacKenzie Art Gallery, Regina.
Feigned Memories, University of Lethbridge.


Revealing the Subject, Art Gallery of Peterborough; Visual Art Centre of Clarington, Bowmanville, Ontario.

Thriller, Edmonton Art Gallery.
Facing History: Portraits from Vancouver/Visages de l’histoire: Portraits de Vancouver, Centre culturel canadien, Paris.

Re-reading the 80s: Feminisms as Process in Vancouver, Belkin Satellite, Vancouver.


Classified Materials: Accumulations, Archives, Artists, Vancouver Art Gallery.

Facing History: Portraits from Vancouver/Visages de l’histoire: Portraits de Vancouver, Centre d’art contemporain de Basse-Normandie, Normandy.


Faking Death: Canadian Art Photography and the Canadian Imagination, Jack Shainman Gallery, New York City.

Portrait of a Citizen, Vancouver Art Gallery. Volunteer Select, MacKenzie Art Gallery, Regina.
Revealing the Subject, Galerie d’art de l’Universite de Sherbrooke; Kenderdine Art Gallery, Saskatoon; Thames Art Gallery, Chatham, Ontario.

Visions, Tank Loft Contemporary Art Centre, Chongqing.


Activating Korea, Govett-Brewster Art Gallery, New Plymouth, New Zealand.

The Virtual Museum Project: Dubious Views, Toronto Photographers Workshop.
Acting the Part: Photography as Theatre, Vancouver Art Gallery.
Open Studio, Ssamzie Space, Seoul.
Video Seoul, IASmedia, Seoul.


ImagiNation: New Cultural Topographies, Carleton University Art Gallery, Ottawa.

Reverberations, Tank Loft Contemporary Art Centre, Chongqing; Yuangong Art Museum, Shanghai; Museum of Contemporary Art, Shijiazhuang, China.

Women to Watch, National Museum of Women in the Arts, Washington.


Connecting with Collections 2, Gallery of Lambton, Sarnia, Ontario.

It will all be different: Ming Wong and Jin-me Yoon, Trinity Square Video Gallery, Toronto.

Is Only the Mind Allowed to Wander?, Vancouver Art Gallery.
Fabulous Festival of Fringe Film (Screening), Durham.

What Moves Us, Western Front, Vancouver.

Mixed Bathing World, Beppu Contemporary Art Festival.

Grange Prize Exhibition, Centro de la Imagen, Mexico City; Art Gallery of Ontario, Toronto.

Passwords 6: Embodied Enactments, Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain.

ImagiNation: New Cultural Topographies, Doris McCarthy Gallery, University of Toronto Scarborough.


Cities and Bodies, Aichi Triennale, Nagoya.

Un-home-ly, Oakville Galleries.

CUE: Artists’ Videos, Vancouver Art Gallery.

Culture Shock: Video Interventions, Queen Elizabeth Theatre, Vancouver.

Construction Sites, Kamloops Art Gallery.

Slow: Relations and Practices, Centre A, Vancouver.
Work With, Audain Gallery, Vancouver.

Visions of British Columbia: A Landscape Manual, Vancouver Art Gallery.


Barroca Nova, ArtLab, University of Western Ontario, London.


Through a glass, darkly, Vancouver Art Gallery.

Project 35: Volume 2, Independent Curators International (ICI), SH Contemporary, Shanghai.

The Untrue North, Yukon Art Centre, Whitehorse.

The 10th Northwest Biennial, Tacoma Art Museum.
Art Souterrain, Montreal Metro site, Montreal.

Echoes of the Artist, Surrey Art Gallery.


Clash: Conflict and its Consequences, National Gallery of Canada, Ottawa.

Landscape Revised, Kamloops Art Gallery.
Dislocations, The Riverdale Hub Community Art Gallery, Toronto.

How We Filled the Vault: 60 Years of Collecting at the MacKenzie Art Gallery, MacKenzie Art Gallery, Regina.

Project 35: Volume 2, Independent Curators International (ICI), Caribbean Tour: Fresh Milk, St. George, Barbados; NLS, Kingston, Jamaica; Alice Yard, Port of Spain, Trinidad and Tobago; and Readytex Art Gallery, Paramaribo, Suriname.

Project 35: Volume 2, Independent Curators International (ICI), Anderson Gallery, VCUArts, Richmond, Virginia; Kunstlerhaus Stuttgart.


SeMA Gold Nobody, Seoul Museum of Art.

Project 35: Volume 2, Independent Curators International (ICI), Sri Lanka Archive of Contemporary Art, Jaffna.

This is Me, This is Also Me, McMaster Museum of Art, Hamilton.

Clash: Conflict and its Consequences, The Reach Gallery Museum, Abbotsford.


Surveying: An Uncertain Landscape, Confederation Centre for the Arts, Charlottetown.

Through a Window: Visual Art and SFU 1965–2015, SFU Galleries, Burnaby.

Project 35: Volume 2, Independent Curators International (ICI), University of Saint Joseph Art Gallery, West Hartford, Connecticut.

Project 35: The Last Act, Independent Curators International (ICI), Garage Museum of Contemporary Art, Moscow.


Married by Powers, MediaCity Seoul.

Rencontres Improbables, Gallery Oqbo, Berlin.

Some more or less distant realities, Walter Phillips Gallery, Banff.


Photography in Canada/La Photographie Au Canada 1960–2000, Canadian Photography Institute, National Gallery of Canada, Ottawa; The Rooms, St. John’s.

Momenta: What Does the Image Stand For?, Galerie B312, Montreal.

AlterNation, Kamloops Art Gallery.

RE:Collection, Confederation Centre of the Arts, Charlottetown.

88 Artists from 88 Years: An Alumni Retrospective, Emily Carr University of Art and Design, Vancouver.


¿¡Welcome?!, Jan Shrem and Maria Manetti Shrem Museum, UC Davis, Davis.

150 Years/150 Artworks: Art in Canada as a Historical Act, Galerie de l’UQAM, Montreal.

In/flux: art of the Korean diaspora, Museum of Vancouver.

Water Works, Art Gallery of Hamilton.

Radial Change, Morris and Helen Belkin Art Gallery, Vancouver.

Festival International du film sur l’art (Screening), Montreal.
Luminocity, Kamloops Art Gallery.

Visitations, Gordon Smith Gallery, North Vancouver.


A Sense of Site, Art Gallery of Nova Scotia, Halifax.

On Location, Glenbow Museum, Calgary.

GanaArt Collection: Herstory Review, Seoul Museum of Art.


Lineages and Land Bases, Vancouver Art Gallery.

Collecting for All, Seoul Museum of Art.


Two Truths and a Lie, Oakville Galleries.

Community Watch, MacKenzie Art Gallery, Regina.

A Lingering Shadow, Polygon Gallery, North Vancouver.

Facing Time, Surrey Art Gallery.

The view from here, SFU Audain Gallery, Vancouver.


Ricepaper Airplane, Incheon Art Platform Gallery.

Asia Forum (Screening), La Biennale di Venezia, Fondazione Querini Stampalia, Venice.

Human Capital, Contemporary Calgary.

RE: visiting, Confederation Centre of the Arts, Charlottetown.

Scotiabank Photography Award Collection, Canada House, London.

Too much light is blinding, School for the Contemporary Arts, SFU, Vancouver.

The Shape of an Echo, Walter Phillips Gallery, Banff.

Shifting Ground, Digital Arts Resource Centre, Ottawa.

Restless, Vancouver Art Gallery.

The Poetic Collection, Seoul Art Museum.

Street Protest Poster Project, Martha Street Studio, Winnipeg.


Land, Store, Home, Korean Cultural Centre, Ottawa.



Monographs and Exhibition Catalogues

Abbot, Louise, et al. Le Mois de la Photo à Montréal. Montreal: Vox populi, 1991.


Allen, Jan. Fertile Ground. Kingston: Agnes Etherington Art Centre, 1996.


Anderson, Shannon. Revealing the Subject. Oakville: Oakville Galleries, 2003.


Arnold, Grant. Topographies: Aspects of Recent B.C. Art. Vancouver: Douglas & McIntyre/ Vancouver Art Gallery, 1996.


Augaitis, Daina, and Sylvie Gilbert. Between Views and Points of View. Banff: Walter Phillips Gallery, 1991.


Autoportraits dans la photographie Canadienne contemporaine. Québec: Éditions J’ai Vu, collection L’opposite, 2004.


Baert, Renee. Margins of Memory. Windsor: Art Gallery of Windsor, 1993.


Baerwaldt, Wayne. mosaiCanada: Sign and Signal. Seoul: Seoul Museum of Art, Canadian Embassy in Seoul and The Power Plant, 2003.


Cover of Jin-me Yoon (Göttingen: Steidl Verlag, 2022).
Cover of Jin-me Yoon: About Time (Vancouver: Vancouver Art Gallery; Munich: Hirmir Verlag, 2022).

Barak, Ami. What does the image stand for? Bielefeld: Kerber Verlag, 2017.


Bell, Lynn. Urban Fictions. North Vancouver: Presentation House Gallery, 1996.


Bellerby, Greg. Vancouver Perspectives. Yokohama: Yokohama Citizens Gallery, 1996.


Bradley, Jessica. The Distance Between. Toronto: Art Gallery of Ontario, 1997.


Chan, Zoë, and Diana Freundl, eds. Jin-me Yoon: About Time. Vancouver: Vancouver Art Gallery; Munich: Hirmir Verlag, 2022.


Collins, Curtis Joseph. Feigned Memories. Lethbridge: University of Lethbridge Art Gallery, 2003.


Derkson, Jeff. Fugitive Spaces. Vancouver: Catriona Jeffries Gallery, 2004.


Edelstein, Susan. Unbidden. Kamloops: Kamloops Art Gallery, 2004.


Edmunds, Kristy. Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography. Portland: Portland Institute for Contemporary Art, 1996.


Evenden, Kirstin. Welcome Stranger Welcome Home. Calgary: Glenbow Museum, 2002.


Ferguson, Bruce. Third Istanbul Biennale. Istanbul: Istanbul Foundation for Culture and Arts, 1993.


Ferguson, Deanna, and Bruce Grenville, eds. Home and Away: Crossing Cultures on the Pacific Rim. Vancouver: Vancouver Art Gallery, 2003.


Fleming, Marnie. Beaver Tales. Oakville: Oakville Galleries, 2000.


Folland, Tom. Social Subjects. Toronto: YYZ, 1993.


Grenville, Bruce. Corpus. Saskatoon: Mendel Art Gallery, 1993.


Hackett, Sophie et al. Ten Years: Aimia/AGO Photography Prize 2008–2017. Toronto: Art Gallery of Ontario, 2017.


Hough, Jessica. Family. Ridgefield: Aldrich Museum of Contemporary Art, 2002.


Hurtig, Annette. “Art and its Practices.” The Culture of Nature. Kamloops: Kamloops Art Gallery, 1996.


———–Art Now: AN EXPANSIVE FIELD of PLAY. Kamloops: Kamloops Art Gallery, 1998.


———–Jin-me Yoon: Touring Home From Away. North Vancouver: Presentation House Gallery, 2003.


———–Lost Homelands. Kamloops: Kamloops Art Gallery, 2001.


Kim, Elaine, et al. Across the Pacific: Contemporary Korean and Korean-American Art. New York: Queens Museum of Art, 1994.


Kim, Hong-hee. The Eighth Ssamzie Space Open Studio Exhibition. Seoul: Ssamzie Space, 2007.


Knights, Karen. (Inter)reference Part II: (In)authentic (Re)search. Vancouver: Women in Focus Gallery, 1990.


Laing, Carol. Picture Theory. Toronto: YYZ, 1995.


LandMarks2017: Art + Places + Perspectives = Repères 2017: art + lieux + perspectives. Toronto: The Magenta Foundation, 2018.


Cover of Facing History: Portraits from Vancouver (Vancouver: Presentation House Gallery, 2004).
Cover of Jin-me Yoon: between departure and arrival (Vancouver: Western Front, 1998).

Love, Karen, ed. Facing History: Portraits from Vancouver. Vancouver: Presentation House Gallery, 2004.


Mills, Josie. Land Matters. Lethbridge: University of Lethbridge Art Gallery, 2009.


Min, Susette S. Caught Between the Sheets. Los Angeles: Los Angeles Photography Center, 1992.


Nakanishi, Sonoko et al. Aichi Trienniale 2010: Cities and Bodies. Nogoya: Aichi Trienniale Organizing Committee, 2010.


Nemiroff, Diana. Crossings. Ottawa: National Gallery Canada, 1998.


Park, Liz. What Moves Us. Vancouver: Western Front Publication, 2009.


Phillips, Kimberly. 13 Ways to Summon Ghosts. Gordon Smith Gallery of Canadian Art, 2018.


Radul, Judy. A Dark Display: Video Installations by Andreas Hintermaier, Jan Peacock, Andrew Power, Cathy Sisler, Yoko Takashima, Jin-Me Yoon. Vancouver: Western Front Gallery, 1999.


—————-Jin-me Yoon: between departure and arrival. Vancouver: Western Front, 1998.


Scott, Kitty. Touring Home: Jin-me Yoon. Edmonton: Edmonton Art Gallery, 1991.


Simblist, Noah and Sally Frater. Places of a Present Past. Hudson: Publication Studios, 2015.


The 30th Artists Today Exhibition: Asia Pacific Universe: Contemporary Art from Australia, Canada, China, India, Japan and the Philippines. Yokohama: Yokohama Citizens’ Gallery, 1995.


Um, Nancy. Korean WRAPsody: The Visual Legacy of Pojagi. Los Angeles: Korean American Museum, 1998.


Watson, Scott. Heroic/Romance. Vancouver: Fine Arts Gallery, University of British Columbia, 1991.


Wendt, Pan and Kevin Rice. RE:collection. Charlottetown: Confederation Centre of the Arts, 2017.


Wong, Paul. Yellow Peril: Reconsidered. Vancouver: On Edge Productions Society, 1990.



Selected Critical Publications

Arnold, Grant. “Purism, Heterogeneity and A Group of Sixty-Seven.” Collapse. Burnaby: Vancouver Art Forum Society (1997).


Belton, Robert. Sights of Resistance. Calgary: University of Calgary Press, 2001.


“The Canadian Vernacular”. Prefix Photo Magazine, Issue 38 (Fall/Winter 2018).


Casteel, Sarah. Second Arrivals: Landscape and Belonging in the Contemporary Writings of the Americas. Charlottesville: University of Virginia, 2007.


Cover of Faking Death: Canadian Photography and the Canadian Imagination (Montreal: McGill-Queen’s University Press, 2003).
Cover of Global Photography: A Critical History (London and New York: Routledge, 2020).

Cousineau-Levine, Penny. Faking Death: Canadian Photography and the Canadian Imagination. Montreal: McGill-Queen’s University Press, 2003.


Davis, Heather, ed. Desire Change: Contemporary Feminist Art in Canada. Montreal: McGill-Queen’s University Press and Mentoring Artists for Women’s Art (MAWA), 2017.


Day, Iyko. Alien Racialization and the Logic of Settler Colonial Capitalism. Durham: Duke University Press, 2016.


Decter, Leah, and Carla Taunton, eds. “Beyond Unsettling.” Public 64 (2021).


Dickenson, Victoria et al. The Good Lands. Vancouver: Figure 1 Publishing, 2017.


Duganne, Erina, Heather Diack, Terri Weissman, eds. Global Photography: A Critical History, Routledge, 2020.


Grace, Sherrill. Canada and the Idea of the North. Montreal: McGill-Queen’s University Press, 2002.


Grenville, Bruce, and Scott Steedman. Visions of British Columbia: A Landscape Manual. Vancouver: Vancouver Art Gallery and Douglas & McIntyre Publishers Inc., 2009.


Jennison, Rebecca. “Aidentiti, kioku, imeji: Jin-me Yoon no aato” (“Identity, Memory and Image: the Art of Jin-me Yoon”). Bijutsu Undo Shi: Kenkyukai Nyusu, Club for Art Action History: Newsletter 87 (April 20, 2007): 7–9.


Jessup, Lynda. “The Group of Seven and the Tourist or The More Things Change…” Journal of Canadian Studies, 37 (October 2002).


Kang, Hyun Yi Laura. Compositional Subjects: Enfiguring Asian/American Women. Durham: Duke University Press, 2002.


Kim, Areum. “We Relate, Therefore We Are: Relation-Making in Jin-me Yoon’s Practice.” C Magazine, Issue 144 (Winter 2020).


Kunard, Andrea. “Giving Context: Souvenirs of the Self (Lake Louise).” Blackflash, 28.1 (2010).


——————-Photography in Canada 1960–2000. Ottawa: National Gallery of Canada, 2017.


Lafleur, Brenda. “‘Resting’ in history: translating the art of Jin-me Yoon.” Generations and Geographices in the Visual Arts. London: Routledge, 1996.


Langford, Martha. Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. Montreal: McGill-Queen’s University Press, 2007.


Lau, Charlene. “Jin-me Yoon: Passages through Phantasmagoria.” Canadian Art Online (February 2009).


Laurence, Robin. “Spellbinding Show Feels Like Home, From Afar.” The Georgia Straight (December 11–18): 2003.


Low, Joni. “Embodied Collisions of Space and Time.” Rice Paper Magazine: Space, Culture, Place 14:3 (2009): 24–29.


Package sent to Jin-me Yoon from James Luna, June 3, 1997.

Manning, Erin. Ephemeral Territories: Representing Nation, Home and Identity in Canada. Minneapolis: University of Minnesota Press, 2003.


McGonigal-Videla, David. “Other forms of Being Together.” Rungh Magazine 8, no. 2 (2021).


Miki, Roy, and Fred Wah, ed. Colour. An Issue, West Coast Line, Number 13/14 (Spring Fall 1994).


Miller, Earl. “Jin-me Yoon: Unbidden.” Art AsiaPacific 48 (Spring 2006): 91.


Nolte, Victoria. “Toward a Formal Language of Resonance: Diaspora and Place in the Video Works of Jin-me Yoon.” Verge: Studies in Global Asias 8, no. 2 (Fall 2022): 91–118.


Park, Liz. “Crawl and Trace: Invisible Histories and Project of Remembering.” Fillip (Spring 2010).


Richards, Lyn. “Jin-me Yoon: Hauntings of self and migration.” Galleries West (May 2022).


Robinson, Dylan. Hungry Listening. Minneapolis: University of Minnesota Press, 2020.


Sawyer, Harvey. The Centre for All Canadians: Five Decades of Inspiration and Excellence. Charlottetown: Confederation Centre for the Arts, 2014.


Tan, Kathy-Ann. Reconfiguring Citizenship: National and Post-national imaginaries in North American Prose, 1850–2010. Detroit: Wayne State University Press, 2015.


Watson, Scott. “Race, Wilderness, Territory and the Origins of Modern Canadian Landscape Painting.” Semiotext(e) Canadas. New York: Semiotext(e)/Marginal Editions, 1994.


Williams, Carol. Image and Inscription: An Anthology of Contemporary Canadian Photography. Toronto: YYZ Books and Gallery 44, 2005.


Download Download