2022 Nominees

The 2022 Scotiabank Photography Award Nominees represent the result of an annual Canada-wide search for excellence. The Scotiabank Photography Award is peer-reviewed at every stage of the nomination and adjudication process and nominees must meet eligibility criteria.

Adrian Stimson

Adrian Stimson is a member of the Siksika Nation, in Alberta, Canada. He currently lives with his husband, Happy, and their two dogs, Bongo and Jett. Together they administer Adrian’s office and studio, raise chickens, plant gardens, and keep honeybees at their home, the former Old Sun Indian Residential School Garden site on the Siksika Nation.

Adrian was born in Sault Ste Marie, Ontario—his parents met at the Shingwaulk Indian Residential School. They then moved to Fort George, Quebec, George Gordon First Nation and Lebret, Saskatchewan. Adrian has had numerous experiences in his life including those at youth programs Katimavik and Canada World Youth, and he completed his basic military training as an Able Seaman with the Canadian Armed Forces. He has traveled extensively, embraces cultural diversity and is an advocate for social and environmental justice. He was elected to political office on his First Nation and was on Chief and Council from 1990 to 1999.

Adrian has attended and received degrees, diplomas, and certificates from the University of

Guelph, The Banff Centre for the Arts, a BFA with distinction from the Alberta University of the

Arts and MFA from the University of Saskatchewan.

Adrian was awarded the Alumni of Influence award by the University of Saskatchewan in 2020, the Governor General Award for Visual and Media Arts in 2018 and the REVEAL Indigenous Arts Award, Hnatyshyn Foundation in 2017. He was awarded the Blackfoot Visual Arts Award in 2009, the Alberta Centennial Medal in 2005 and the Queen Elizabeth II Golden Jubilee Medal in 2003.

Barbara Astman

Barbara Astman belongs to a visionary group of artists who have continued to radicalize visual culture since the early 1970s by defining new ways of seeing. Over four decades, she has explored a wide range of photo-based media and produced work, which has received national and international recognition, through exhibitions, acquisitions and publications. She is represented in important public, corporate and private collections including the National Gallery of Canada, Ottawa, the Bibliothèque Nationale, Paris, Art Gallery of Ontario, Toronto, Deutche Bank, New York, and the Victoria and Albert Museum, London. Her artist’s archives are held in the E.P. Taylor Research Library & Archives, AGO.

Astman has an extensive and prestigious solo exhibition history, most recently, Barbara Astman Looking: Then and Now, a two-part exhibition (Corkin Gallery, 2016) and Barbara Astman: I as artifact featuring a new series of works accompanied by a comprehensive publication (McIntosh Gallery, 2014). In May 2011, her installation, Dancing with Che: Enter through the Gift Shop, (Kelowna Art Gallery, 2013) toured across Canada. Her major touring retrospective exhibition, Barbara Astman - Personal/Persona - A 20 Year Survey was curated by Liz Wylie (Art Gallery of Hamilton, 1995). Major group exhibitions include: Toronto: Tributes + Tributaries, 1971-1989 (AGO, 2016), Living Building Thinking: Art and Expressionism (McMaster Museum of Art, 2016), Look Again: Colour Xerography Art Meets Technology (AGO, 2015), Herland, (60 Wall Gallery, New York 2014), Light My Fire Part I: Some Propositions about Portraits and Photography (AGO, 2013), and Beautiful Fictions (AGO, 2009). 

Jin-me Yoon

Jin-me Yoon is a Korean-born, Vancouver-based artist living and working on the unceded territories of the Coast Salish peoples. Since the early 1990s, her lens-based practice has critically examined the construction of self and other in relation to her own direct and inherited history, as well as within broader geopolitical contexts. Unpacking stereotypical assumptions and dominant discourses, Yoon’s work has examined gender and sexuality, culture and ethnicity, citizenship and nationhood. Adopting a wider and wider lens over time, her practice has become a deep investigation into entangled local and global histories existing at specific sites within the context of transnationalism and environmentalism.

Presented in over 200 solo and group exhibitions, Jin-me Yoon has shown her work across North America, Asia, and Australia, and in select institutions worldwide. Her work is held in 17 public collections, including the National Gallery of Canada, Royal Ontario Museum, Vancouver Art Gallery and Seoul Museum of Art. A three-decade survey exhibition organized by the Musée d’art de Joliette has been touring since 2019; and in 2022, the Vancouver Art Gallery will mount a major solo exhibition of her recent work. Also in 2022, authored by art historian Ming Tiampo, the Art Canada Institute will publish an online book, Jin-me Yoon: Life and Work.

A Professor of Visual Art at Simon Fraser University, in 2018, Jin-me Yoon was elected as a Fellow into the Royal Society of Canada, a council of distinguished Canadian scholars, scientists and artists recognized for their relevant and substantial contribution to the larger society.

Julie Forgues 

Julie Forgues obtained her Bachelor's degree in visual arts at the Université de Moncton (Moncton) in 1995 and her MFA in Studio Arts – Photography at Concordia University (Montreal) in 1999. She is a professor of photography in the Department of Visual Arts at Université de Moncton since 2000 and Head of the department since 2016. Her work has been shown in solo and in groups exhibitions at the regional, national and international level. Julie participated in the renowned artist residency at the Swatch Art Peace Hotel in Shanghai (2017-2018), where she was reinvited to show her work done at the residency, nowhere / now here, as part of the Shanghai PhotoFairs in september 2018. She has also participated in several other artist residency programs internationally, such as in China, Ireland, Japan and the Arctic Circle. She will go to Iceland for 2 months during the summer of 2022 to work on her photographic research which is situated as an intermediate image between a space and a place.

Kelly Jazvac

Kelly Jazvac makes art out of plastic recuperated from the advertising industry. She is interested in using sustainable art making processes to investigate the evidence of climate crisis-enabling

behaviour that is present in this form of found photography. In doing so, she asks what these

images reveal, but also what they could be. Jazvac is also part of a plastic pollution research team called The Synthetic Collective, which includes scientists, artists, and humanists. The work of this research group is highly influential on Jazvac’s artistic practice. Her recent exhibitions include Plastic Heart: Surface all the way through at the Art Museum of the University of Toronto; Polyempath Polyethylene at the MacLaren Art Centre (Barrie); and Broken Nature at The Museum of Modern Art (New York). She has also recently exhibited at The Musée D’Art Contemporain (Montréal); the Eli and Edyth Broad Museum (East Lansing); Ujazdowski Castle CCA (Warsaw); and FIERMAN Gallery (New York). Her work has been written about in National Geographic, e-flux Journal, Hyperallergic, Art Forum, The New Yorker, Canadian Art Magazine and The Brooklyn Rail. Her co-authored art/science research has been published in scientific journals including Nature Reviews, GSA Today, and Science of the Total Environment. Born in Hamilton, Ontario, Jazvac is based in Tiohtià:ke/Mooniyang/Montreal where she is the MFA Graduate Program Director in Studio Arts at Concordia University.

Morris Lum

Morris Lum is a Trinidadian born photographer/artist whose work explores the hybrid nature of the Chinese-Canadian community through photography, form and documentary practices. His work also examines the ways in which the Chinese history is represented in the media and archival material. Morris’ work has been exhibited and screened across Canada, the United States.

Morris is currently working on a cross North America project that looks specifically at the transformation of the Chinatown.

Phil Bergerson

Phil Bergerson has been photographing and exhibiting internationally for over 35 years. His work can be found in many significant public and private collections, including the National Gallery of Canada, the Bibliotheque Nationale in Paris, and the Canadian Museum of Contemporary Photography. He has been awarded several Canada Council and Ontario Arts Council grants and his photographs have been published in The New Yorkerand TheNew York Times Magazineas well as in Toronto Lifeand Walrus. His critically acclaimed book, Shards of Americawas published in 2004 by the New York Publisher – Quantuck Lane Press. Now Professor Emeritus, Bergerson taught photography at Ryerson University from 1975 until his retirement in 2005. There he received many awards including the prestigious Sahota Award for excellence in teaching and creative research. His influential organizational achievements include the establishment of the annual international “Kodak Lecture Series”, a National Conference on Photography in Canada, (“Canadian Perspectives”), and the first International Symposium on Photographic Theory. He also established and directed severalphotographic study trips to Europe and Asia. His most recent book is American Artifacts published by BlackDog Press London England, in association with the Ryerson Image Centre, Toronto, Canada. The book was launched at the opening of Bergerson’s exhibition “Emblems and Remnants of the American Dream” at the RIC.

Rosalie Favell

Rosalie Favell is a photo-based artist, born in Winnipeg, Manitoba. Drawing inspiration from her family history and Métis (Cree/English) heritage, she uses a variety of sources, from family albums to popular culture, to present a complex self-portrait of her experiences as a contemporary aboriginal woman. To date Rosalie’s work has explored the relation of photography to issues of identity. A major body of work, Facing the Camera (2008-2018) started when she realized that a visual document had not been made of the Indigenous arts community. These 500 portraits pay homage to the courage, strength, and dedication of these dedicated individuals. Over the course of her long career, she has won prestigious awards such as the Paul DeHuek/Norman Walford Career Achievement Award and the Karsh Award. Numerous institutions have acquired her artwork including the Indigenous Art Centre (Gatineau), the National Gallery of Canada (Ottawa), and the Smithsonian National Museum of the American Indian (Washington, D.C.). A graduate of Ryerson Polytechnic Institute, Rosalie holds a Master of Fine Arts degree from the University of New Mexico and a PhD (ABD) from Carleton University in Cultural Mediations. In Ottawa Rosalie has taught at Carleton University, the University of Ottawa and Discovery University.

Sara Angelucci 

Sara Angelucci is a Toronto-based artist working in photography, video and audio. Her work explores vernacular photographs and films, analyzing the original context in which images are made. Drawing attention to conventions of image making, her work foregrounds the cultural role vernacular images play in framing particular stories, creating histories, and memorialization. Her interest lies in drawing our attention outside of the image frame, pointing to the social and historic conditions which are the unspoken basis of the image.

Angelucci’s work has developed from an examination of the family archive and immigration, to a broader analysis and interpretation of anonymous/found photographs. In recent photography, video, and audio projects, Angelucci draws from the history of photography, as well as natural and social histories. Recent projects have brought particular attention to the historic conditions of women's labour.

Sara Angelucci completed her BA at the University of Guelph and her MFA at the Nova Scotia College of Art and Design. She has exhibited her photography across Canada in solo exhibitions at the Art Gallery of York University, Le Mois de la Photo in Montreal, Vu in Quebec City, the Toronto Photographers Workshop, the MacLaren Art Centre, the Art Gallery of Hamilton, the Richmond Art Gallery, and the St. Mary’s University Art Gallery in Halifax. Internationally she has had solo exhibitions at the Canadian Cultural Centre in Paris, the Lianzhou Photography Festival and the Halsey Institute of Art in Charleston.

Her work has been featured in numerous group shows in the US, Europe, and in China at the Pingyao and Beijing Biennales. Her videos have been screened across Canada and abroad, at festivals in Europe, China, Australia and the U.S. She has participated in artist residencies at the Art Gallery of Ontario, NSCAD (Halifax), the Banff Centre, and at Biz-Art in Shanghai.

Angelucci is an Adjunct Professor in Photography at the School of Image Arts, Ryerson University.

Sara Cwynar

Sara Cwynar (Vancouver, BC, Canada, 1985) lives and works in New York, NY. Her work in photography, video and performance involves a constant archiving and re-presentation of collected visual materials. She explores the way that images morph, accumulate, endure and change in meaning and value over time, and the effect this has on a collective worldview.

Selected exhibitions include: “Glass Life”, Foxy Production, New York, NY (solo) (2021);

“Source,” Remai Modern, Saskatoon, SK, Canada (solo) (2021); “Collection 1970s–Present:

Search Engines,” MoMA, New York, NY (2020-2021); “Sara Cwynar,” The Aldrich Contemporary Art Museum, Ridgefield, CT (solo)(2019); “Image Model Muse,” Milwaukee Museum of Art, WI, and Minneapolis Institute of Art, Minneapolis, MN (solo)(2018-2019); “Tracy,” Oakville Galleries, Oakville, ON, Canada (solo); 33rd Bienal de Sao Paulo, Brazil (both 2018); “Soft Film,” MMK Museum für Moderne Kunst, Frankfurt, Germany (solo); “Subjektiv,” Malm  Konsthall, Sweden (both 2017); and “Greater New York,” MoMA PS1, Queens, NY (2015-2016).

Sara Cwynar recently presented a new commissioned performance work, “Down At The

Arcade” in New York for the 2021 Performa Biennale, curated by Job Piston. In 2019 MoMA

New York commissioned Cwynar to make a series of films that stream on the museum’s website and social media palatforms.

Shannon Bool

Born 1972, Shannon Bool has been living in Germany since 2001. She is professor of Painting at Academy of Fine Arts in Mainz, Germany. Her works are part of renowned museum collections such as Kunstmuseum Bonn, Metropolitan Museum New York, LBBW Collection, Museum für Moderne Kunst Frankfurt, Collection of the Federal Estate of Germany, Lenbachhaus Munich or The National Gallery of Canada. Recent solo exhibitions have been at Agnes Etherington Art Centre, Kingston (2020), The Kunstverein Braunschweig, Centre Culturel Canadien in Paris (both 2019), Musée Joliette Canada (2018). She has participated at internationally renowned group exhibitions such as „Germany is no Island“ at Bundeskunsthalle Bonn, „I am a Problem“ at Museum of Modern Art Frankfurt (2017), „Mentally Yellow“ at Kunstmuseum Bonn (2017), La Biennale de Montréal and at „In the Picture: Overpainted Photography“ at Sprengel Museum Hannover (2019).