Assistant Professor of Video and Film
A MacDowell and Yaddo Fellow and recent artist in residence at Phillips Academy Andover, she has taught video, film, photography, animation, new media, and visual studies in the US and the UK.
Since 2000, Tucker has worked to transform and expand what we know as a daily form of terse, text-driven, populist narrative through The Obituary Project, a compendium of moving image that gives new life to the antiquated documentary practice of salvage ethnography. She has animated cyanotypes of downwinders and instructions for making fishing nets by hand; photographed shuttered bread factories, fallen witness trees, and decaying civil rights era landmarks; recorded mobile phone footage of the last public phone booths of Finland; written the text of a video out of paper clips, a Norwegian symbol of solidarity and nonviolent resistance; and retraced the path of protest that closed the only nuclear power plant in Austria.
Works from the project have screened in festivals, museums, galleries, and cultural spaces, including 21er Haus, Vienna; Ann Arbor Film Festival; Cairo Video Festival; European Media Art Festival, Osnabrück; Images Festival, Toronto; International Film Festival, Rotterdam; Museo Nazionale del Cinema, Torino; New York Film Festival; Punto de Vista, Pamplona; Vox Populi, Philadelphia; Wexner Center for the Arts, Ohio; Whitechapel Gallery, London; Zagreb Dox.
Animation Workshop is a hands-on introduction to the fundamentals of animation. Camera-less techniques, stop motion, frame by frame, cut-out and alternative approaches to image design and acquisition are introduced as well as 16mm camera work, hand-processing, and non-linear editing. The development of personal vision is stressed. Our meeting periods will be used for discussion related to the production of animation; screenings to give you a sense of how other makers have approached the topic at hand; in-class demonstrations, exercises and workshops to familiarize you with concepts, processes and equipment; and critiques of your work. The first half of the semester will be devoted to weekly collaborative and individual exercises in which you'll develop an understanding of the basic principles of animation as you experiment with various approaches to working with images in sequence. You will complete a number of exercises to practice technical skills and learn essential concepts. In the second half of the semester, you'll complete a short project of your own design using one of the formal strategies and techniques that most interested you in the first half of the term. Students submit written responses to weekly screenings of international films that represent a variety of aesthetic, historic, and political approaches to the moving image. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
This course provides an opportunity for students to discover what research practice can look like for those working in film, photography, video installation, and related media. Readings, screenings, creative exercises, library workshops and artist talks which address conceptual approaches, working methods, and a range of research strategies will allow students to deepen their research skills as they develop projects of their own. By looking within texts by artists, filmmakers, photographers, performers, poets, and journalists such as Joan Beifuss, Duncan Campbell, Tacita Dean, Julie Dash, Mariam Ghani, Sharon Greytak, Gifford Hampshire, Naomi Kawase, Spike Lee, Mary Ellen Mark, Mike Nichols, Mika Rottenberg, Doris Salcedo, Chick Strand, Camilo Jose Vergara, Santiago Alvarez, Peter Watkins, and Kevin Jerome Everson, the class will examine research-based approaches to developing, creating and realizing new works. Each student is required to present their work in various stages throughout the semester. The members of the class will provide critical, technical and production support for one another. Active verbal contributions to all sessions are required of each student under the guiding principle that tracking each other's intellectual and creative process will help each person develop their respective project. This course provides a structured context in which to do research intensive work at the Division II level. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Pigeons, balloons, kites, aircraft, satellites, telephones, webcams, carcams, and bodycams have been used to record images of regions, communities, and people. In this introductory level video production course, we will look back at these images -- contemporary and historic examples produced by individuals, corporations, and international government surveillance programs-- that observe, track, and survey as we discuss secrecy, technology, and shifting attitudes towards privacy. Using devices that document from the ground, the sky, and the body, students will complete a series of time and screen based projects designed to develop basic technical proficiency as well as the skills and mental discipline so important to a successful working process. Hands on workshops will introduce students to modes of image acquisition, as well as skills such as lighting, editing, and sound recording. We will follow a workflow that includes research and development of an idea (designing, planning, and scheduling), production (building, testing, recording) and post-production (editing and revision). Screenings, workshops, critiques and discussion will focus on media analysis and image/sound relationships. Readings will include historical, theoretical, and literary texts. Students will gain experience in looking, listening, and thinking critically about the making of the moving image. There are required weekly screenings and workshops. Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
The Teaching and Learning Community Hampshire Media Arts: Feminists Behind the Camera introduces students to the resources at Hampshire College and to the analysis and production of Film, Video, Photography, Performance and Installation. Students learn to read visual images by focusing on the development of the media arts and their relationship to their historical and cultural context (economic, historical, political, intellectual and artistic) from which they came. We will explore the potential of image making devices from the photogram to the cell phone, and the work of artists including Chantal Akerman, Anna Atkins, Jane Campion, Vera Chytilova, Julie Dash, Maya Deren, Valie Export, Andrea Fraser, Sara Gomez, Zora Neal Hurston, Trinh T. Minh-Ha, Barbara Loden, Sarah Maldoror, Ulrike Ottinger, Adrian Piper, Yvonne Rainer, Joan Rivers, Martha Rosler, Lorna Simpson, Chick Strand, So Yong Kim, Carrie Mae Weems and others. Faculty members in the media arts will present their own work as producers/artists/critics and thinkers. Students will screen and read a variety of essential texts. Class meetings will include weekly screenings, small production exercises, visits to the offices and resources around campus, and regular group advising sessions. Attendance and participation in all tutorial activities, in class and out, is required.
In this video production workshop, we will study historic and contemporary examples of international advertising produced for political groups and movements as we make media for change and transformation. Each week students will analyze works created by corporations, collectives, and artists as they create a short work of their own. Hands on technical workshops will reinforce or introduce production and design skills. Our workflow will incorporate research and development of an idea, editing and revision. The final project will be created in response to the US presidential elections of 2016, an international, national, or local issue such as gun control or reproductive justice, or a movement such as Black Lives Matter. Required weekly screenings will include Daisy Girl (1964), Chile's No campaign (1988), Man from Hope (1992). Print, radio, performance, and social media will also be examined. Readings will include cultural, historical, and critical texts. Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Pigeons, balloons, kites, aircraft, satellites, telephones, webcams, carcams, and bodycams have been used to record moving images of regions, communities, and people. In this intermediate level video production workshop, we will look back at these images -- contemporary and historic examples produced by individuals, corporations, and international government surveillance programs-- that observe, track, and survey as we discuss secrecy, technology, and shifting attitudes towards privacy. Working both individually and in groups, students will create work in response using devices that document from the ground, the sky, and the body. Hands on workshops will introduce students to modes of aerial image acquisition, as well as skills such as lighting, editing, sound recording and design. We will follow a workflow that includes research and development of an idea (designing, planning, and scheduling), production (building, testing, recording) and post-production (editing and revision). Readings will include historical, theoretical, and literary texts. There are required weekly screenings and workshops.
This course teaches the basic skills of film production, including camera work, sound recording, editing, and preparation and completion of a finished work in film and video. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and videotapes that represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in an individual final project for the class. The development of personal vision will be stressed. The bulk of the work in the class will draw on the material of 16mm, through hand-processing, camera-less techniques, direct animation, and alternative approaches to image design and acquisition. Video formats plus digital image processing and non-linear editing will also be introduced. Prerequisite: 100-level course in media art. (Introduction to Media Arts, Hampshire Media Arts, or equivalent and must be completed and not concurrent with this course.)