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.
"The way to right wrongs," said journalist Ida B. Wells, "is to turn the light of truth upon them." Through close examination of works by artists, filmmakers, photographers, and cultural workers who have turned towards borders and boardrooms; fields and factories; habitats and playgrounds; wetlands and wilderness, this course will advance students' skills in reading and making images as they expand their understanding of environmental justice. Students will study a series of works and their relationship to the historical and cultural context (economic, political, intellectual and artistic) from which they came and create weekly responses to a variety of texts by Appalshop, Rosa Barba, Nanobah Becker, Blackside Films, Center for Urban Pedagogy, Shu Lea Cheang, Robert Del Tredici, LaToya Ruby Frazier, Carole Gallagher, Judith Helfand, Barbara Kopple, Dorothea Lange, Pare Lorenz, Cannupa Hanska Luger, Ana Mendieta, Richard Misrach, Mike Nichols, Tsuchimoto Noriaki, Emily Richardson, Martha Rosler, Mierle Laderman Ukeles, Frederick Wiseman. Class meetings will include screenings, discussions, and production exercises. No previous production experience is necessary. Attendance and participation in all activities is required.
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 exercises designed to develop basic technical proficiency as well as the skills critical to a successful working process. Hands-on workshops will introduce students to modes of image acquisition, as well 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 and be expected to participate in discussions about the readings, screenings, and work of their classmates. Interested students are welcome to attend the first class meeting even if they are not officially enrolled.
Feminists Behind the Camera introduces students to the analysis and production of film and video through close examination of works by artists/critics/cultural workers/filmmakers 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, Carrie Mae Weems, Eudora Welty, and others. Students will learn to read visual images by focusing on the development of media works and their relationship to the historical and cultural context (economic, historical, political, intellectual and artistic) from which they came. Students will screen and read a variety of essential texts and create written and image-driven work in response. Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Animation Workshop is a hands-on introduction to the fundamentals of frame by frame filmmaking and handcrafted cinema. Camera-less techniques, stop motion, 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 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.
In this media production workshop, we will study historic and contemporary examples of campaigns produced for political groups and movements as we make media for change and transformation. Students will analyze works created by corporations, collectives, citizens and artists and use this knowledge to create work of their own. This course is open to students of all levels; production experience is not expected. Hands on technical workshops will reinforce or introduce production and design skills. Our workflow will incorporate research and development of an idea, production, editing, revision and exhibition. The final work of the course will be created in response to the upcoming midterm elections, an international, national, or local issue or movement such as gun control or reproductive justice or net neutrality or Black Lives Matter. Required weekly screenings will include international ads, feature films, and video art. Print, radio, performance, and social media will also be examined. Readings will include cultural, historical, critical, and literary texts. Interested students should come to the first class session. Enrolled or top 5 waitlist students who DO NOT attend the first class session and evening screening 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 Santiago Alvarez, Joan Beifuss, Duncan Campbell, Tacita Dean, Kevin Jerome Everson, Mariam Ghani, Sharon Greytak, Ichi-F, Coco Fusco, Gifford Hampshire, Naomi Kawase, Spike Lee, John Lewis, Mary Ellen Mark, Mike Nichols, Mika Rottenberg, Doris Salcedo, Chick Strand, Camilo Jose Vergara, Travis Wilkerson, Peter Watkins, Ernest Withers, and Mierle Laderman Ukeles, 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 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.