Jordan Bear’s scholarship has focused on the historical intersection of visual representation, knowledge and belief. His first book, Disillusioned: Victorian Photography and the Discerning Subject, tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject.
A second area of research has been the visual representation of the past and its relationship to historiography, which culminates in a co-edited volume, with Mark Salber Phillips, entitled What Was History Painting and What is it Now? (Montreal: McGill-Queen’s University Press, forthcoming 2019).
More generally, he maintains a research focus on the visual representation of knowledge in the natural and human sciences, as well as on visual communication in the illustrated press. He is currently engaged in an extended study of the concept of trust in nineteenth-century visual media, particularly in representations that are produced collectively, and at a degree of spatial mediation.
Recent Graduate Courses
Photography, Illusion, and Knowledge in 19th-Century Europe
Viewing History: The Visual Experience of the Past, 1750–1900
Realisms (co-taught with Prof. Matt Kavaler)
Histories and Theories of Photographic Manipulation
Recent Undergraduate Courses
Modernism and Anti-Modernism: 1750–1900
Nineteenth-Century Landscape Painting
Introduction to the History of Photography
The Cultures of Exhibition in 19th-Century Europe
“Where There’s Smoke… Photography’s Causal Histories,” in October 163 (Winter 2018), 3–20.
“Collectors, Copyists, and Collaborators: On Rejlander’s Relationships,” in Lori Pauli, ed., Oscar Gustave Rejlander: Artist-Photographer (Ottawa and New Haven: National Gallery of Canada and Yale University Press, 2018), 75–85.
“Natural Darkness and Artificial Light,” in Journal of Victorian Culture 23:4 (2018), 1–8.
“Pieces of the Past: Early Photomontage and the Voice of History,” in History of Photography 41:2 (Spring 2017), 126–140.
Before-and-After Photography: Histories and Contexts, ed. with Kate Palmer Albers (London: Bloomsbury, 2017).