Jordan Bear
Biographic Data
| ID | 515440 |
|---|---|
| NAME | Jordan Bear |
| GIVEN NAMES | Jordan |
| FAMILY NAME | Bear |
| SIGNATURE | BEAR J |
| AFFILIATIONS | University of Toronto |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 13 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
First Exposures
"First Exposures: Writings from the Beginning of Photography." History of Photography, 43(1), pp. 110–111
Where There's Smoke … Photography's Causal Histories
The ways in which a particular historical milieu understands the relationship between causes and effects helps us to discern its conception of photography, a representational mode so often entangled in such categories. An examination of the last third of the nineteenth century and its so-called “revolt against positivism” provides an example. This period saw the slow and nearly comprehensive collapse of positivist history, and no grievance was mo…
Flash! Natural Darkness and Artificial Light
Pieces of the Past
A key dimension of photomontage is the way that its formal features – and consequent debates about the probity of making a photograph out of multiple sources – illuminate some of the fundamental problems of representation in the late nineteenth century. Among these was the question of whether an account of the past was properly presented as an unmediated transmission of fact, or demonstrably fashioned by an author: whether the tools of representa…
Photographic Theory
Photographic Exceptionalism
That we today find ourselves in what Stephen Bann, in his learned and scintillating new book, calls a state of ‘photographic exceptionalism’ hardly seems a bold claim. Yet the familiarity of the assertion should not inure us to the genuinely meteoric rise of photography into the hallowed precincts over which it now presides. One only needs to recall that it was a mere three decades ago that the Museum of Modern Art still found it necessary to yok…
Reasoned and Unreasoned Images
(2013). Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey: Josh Ellenbogen. Photography and Culture: Vol. 6, No. 3, pp. 369-373
Venturing Out on a Ledge to Get a Certain Picture”
The body of work produced during Alvin Langdon Coburn's journey to the Grand Canyon operates in two simultaneous but distinctive registers, yet the predominant critical investigation of his work has been limited to the handful of quite extraordinary pictures that evoke the precepts of Pictorial photography. If we are to come to terms with the larger undertaking, of which these pictures are an integral part, we need also to investigate the photogr…
The Silent Partner
July 01 2012 The Silent Partner: Agency and Absence in Julia Margaret Cameron's Collaborations Jordan Bear Jordan Bear Jordan Bear is Assistant Professor of Art History at the University of Toronto. His writing, published in History of Photography, Cabinet, Bookforum, Photography and Culture, and Visual Resources, among other venues, has focused on the historical intersection of photography, knowledge, and belief. He is currently preparing a book…
Magnum orbis
What did globalisation look like at its modern genesis? The postwar globe demanded representation, and the photographers of the liberal internationalist Magnum cooperative found themselves in an ideal situation to oblige. This study argues that one mode of knowing the global is to explore the work of two apparently antipodal Magnum photographers who sketched the contours of their very particular globe by exploring its principle metaphorical binar…
Dangerous Combinations
Perhaps the most treasured apocryphal utterance in the history of art is that which the noted history painter Paul Delaroche is supposed to have exclaimed at the news of photography’s invention: “F
Invisible Hands and Unseen Worlds Photography as a Projected Shadow Writing Photography in the Second Degree Victorian Scrapping A Sense of Place Margaret Watkins Everything's a Memory
(2009). Invisible Hands and Unseen Worlds Photography as a Projected Shadow Writing Photography in the Second Degree Victorian Scrapping A Sense of Place Margaret Watkins Everything's a Memory. History of Photography: Vol. 33, No. 3, pp. 306-318
Look Again
This essay explores the task of visual discernment as both a recreation and a prerequisite for productivity in the modern economy in Britain in the 1860s. The investigation is anchored by the close analysis of two exemplars of the second generation of British photography, O. G. Rejlander and his student and sometime rival Henry Peach Robinson, whose photographs evince a complex repertoire which engages the viewer's ability to discern the mode of …
The Silent Partner
July 01 2012 The Silent Partner: Agency and Absence in Julia Margaret Cameron's Collaborations Jordan Bear Jordan Bear Jordan Bear is Assistant Professor of Art History at the University of Toronto. His writing, published in History of Photography, Cabinet, Bookforum, Photography and Culture, and Visual Resources, among other venues, has focused on the historical intersection of photography, knowledge, and belief. He is currently preparing a book…
Dangerous Combinations
Perhaps the most treasured apocryphal utterance in the history of art is that which the noted history painter Paul Delaroche is supposed to have exclaimed at the news of photography’s invention: “F
Invisible Hands and Unseen Worlds Photography as a Projected Shadow Writing Photography in the Second Degree Victorian Scrapping A Sense of Place Margaret Watkins Everything's a Memory
(2009). Invisible Hands and Unseen Worlds Photography as a Projected Shadow Writing Photography in the Second Degree Victorian Scrapping A Sense of Place Margaret Watkins Everything's a Memory. History of Photography: Vol. 33, No. 3, pp. 306-318
Look Again
This essay explores the task of visual discernment as both a recreation and a prerequisite for productivity in the modern economy in Britain in the 1860s. The investigation is anchored by the close analysis of two exemplars of the second generation of British photography, O. G. Rejlander and his student and sometime rival Henry Peach Robinson, whose photographs evince a complex repertoire which engages the viewer's ability to discern the mode of …
Magnum orbis
What did globalisation look like at its modern genesis? The postwar globe demanded representation, and the photographers of the liberal internationalist Magnum cooperative found themselves in an ideal situation to oblige. This study argues that one mode of knowing the global is to explore the work of two apparently antipodal Magnum photographers who sketched the contours of their very particular globe by exploring its principle metaphorical binar…
Dangerous Combinations
Perhaps the most treasured apocryphal utterance in the history of art is that which the noted history painter Paul Delaroche is supposed to have exclaimed at the news of photography’s invention: “F
Venturing Out on a Ledge to Get a Certain Picture”
The body of work produced during Alvin Langdon Coburn's journey to the Grand Canyon operates in two simultaneous but distinctive registers, yet the predominant critical investigation of his work has been limited to the handful of quite extraordinary pictures that evoke the precepts of Pictorial photography. If we are to come to terms with the larger undertaking, of which these pictures are an integral part, we need also to investigate the photogr…
The Silent Partner
July 01 2012 The Silent Partner: Agency and Absence in Julia Margaret Cameron's Collaborations Jordan Bear Jordan Bear Jordan Bear is Assistant Professor of Art History at the University of Toronto. His writing, published in History of Photography, Cabinet, Bookforum, Photography and Culture, and Visual Resources, among other venues, has focused on the historical intersection of photography, knowledge, and belief. He is currently preparing a book…
Reasoned and Unreasoned Images
(2013). Reasoned and Unreasoned Images: The Photography of Bertillon, Galton, and Marey: Josh Ellenbogen. Photography and Culture: Vol. 6, No. 3, pp. 369-373
Photographic Theory
Photographic Exceptionalism
That we today find ourselves in what Stephen Bann, in his learned and scintillating new book, calls a state of ‘photographic exceptionalism’ hardly seems a bold claim. Yet the familiarity of the assertion should not inure us to the genuinely meteoric rise of photography into the hallowed precincts over which it now presides. One only needs to recall that it was a mere three decades ago that the Museum of Modern Art still found it necessary to yok…
Pieces of the Past
A key dimension of photomontage is the way that its formal features – and consequent debates about the probity of making a photograph out of multiple sources – illuminate some of the fundamental problems of representation in the late nineteenth century. Among these was the question of whether an account of the past was properly presented as an unmediated transmission of fact, or demonstrably fashioned by an author: whether the tools of representa…
Where There's Smoke … Photography's Causal Histories
The ways in which a particular historical milieu understands the relationship between causes and effects helps us to discern its conception of photography, a representational mode so often entangled in such categories. An examination of the last third of the nineteenth century and its so-called “revolt against positivism” provides an example. This period saw the slow and nearly comprehensive collapse of positivist history, and no grievance was mo…
Flash! Natural Darkness and Artificial Light
First Exposures
"First Exposures: Writings from the Beginning of Photography." History of Photography, 43(1), pp. 110–111
Art (12 works) · Visual arts (11 works) · Photography and Visual Culture (10 works) · Photography (7 works) · Art history (6 works) · Aesthetics (4 works) · History (4 works) · Law (4 works) · Political science (4 works) · Psychology (4 works)