Jacqueline Hayden, professor of film and photography, has been a professional artist since 1979 when she received her Masters of Fine Arts degree from Yale University. Ms. Hayden has been a Professor of Film and Photography at Hampshire College in Amherst, Massachusetts since 1991. She has received numerous awards including a John Simon Guggenheim Fellowship, and a National Endowment for the Arts Individual Artist Fellowship for her photographs of nude older figure models titled Figure Model Series 1991-96. Figure Model Series and Ancient Statuary Series 1996-2000 have been shown in numerous museum exhibitions including the Brooklyn Museum of Art, New Museum of Contemporary Art and the Alternative Museum in N.Y.C., Aldrich Museum of Contemporary Art in Connecticut, National Museum of Bellas Artes and National Museum of Decorative Arts in Havana, Cuba. She has been an artist in residence at the Banff Center for the Arts in Alberta, Canada and at the American Academy in Rome, Italy.
Professor Hayden is a founding faculty member of Hampshire College's study abroad program in Havana, Cuba. In January 2002 and 2003, she and her students completed the first digital photographic archive of the old city of Havana, Cuba. This was a community service project for the Office of the Historian in Havana by Hampshire College. She has been the faculty in residence in Havana for an academic semester in 2003, 2006 and 2010.
September 2003-July 2004 Ms. Hayden collaborated with Cuban dance troupe, Danza Voluminosa on a theater production, Una Muerte Dulce, staged at Teatro Nacional, Havana on July 4, 2004. In 201, she created a video projection for Danza Voluminosas' latest theater production, Freddy. Ms. Hayden has also collaborated with Cuban documentary filmmaker Lizette Vila on numerous projects, in 2004 the video Sexualidad about the Cuban transvestite community and March 2010 Anti Barbie, a collaborative photography project was exhibited at the National Museum of Bellas Artes in Havana. In April 2007 she had a solo exhibition at Artes Plasticas Galleria in Havana and in March 2009 portraits from Sexualidad were exhibited in "Gender, (Trans) Gender and the (De)Generates," A Special Project of the 10th Edition of the Havana Art Biennial on Integration and Resistance of Genders in the Global Era.
The human form; nude, naked, clothed, full bodies, partial bodies, gendered and racial bodies, young and old bodies constitute a primary subject in contemporary artistic practice. In this class we will explore both the traditions of the photographic nude in art and its subversions in late 20th and 21st century photography. Students will be expected to develop a "body" of photographs related to the topic that can intersect anywhere with the body: straight portraiture, nudes, abstractions of bodies or virtual Web bodies. Students will be instructed to use cameras, computers and materials to develop an aesthetic strategy that either embraces or challenges existing genres. Instructor Permission.
As a result of the relevance and characteristics of women's discourse in the Cuban cultural scene, this seminar attempts to describe--within the largest thematic nuclei of Cuban short story genre-the stories written by women and analyzed its mainfigures, antecedents and development until today. Theobjective of the course is not only to establish a criticalhistorization of this type of narrative, but to show the different trends that coexist in the present generations.
This one-on-one intensive course meets for four hours each week (sometime it is more depending on the student's needs) and is built upon the student's current knowledge, speaking and comprehension skills of the Spanish language. It aims to strengthen the student's comprehension of complex literary texts used for her research. Advanced grammar structures and vocabulary are also included.
This course is the foundation for the core curriculum in media arts at Hampshire College in Film/Video, Photography, Performance and Installation art centering on the analysis and production of visual images. Students are expected to learn to read visual images by focusing on the development of art forms and their relationship to their historical and cultural context (economic, historical, political, intellectual and artistic) from which they came. Areas explored in depth will include the beginning of photography and cinema, from the camera obscura to the Lumiere brothers; Pictorialism, Documentary, Dada, Surrealism, Russian Constructivism, Experimental and Structuralist filmmaking, Feminist Performance Art and Identity Politics. Faculty members in the media arts will present their own work as producers/artists/critics and thinkers. Students will read a variety of seminal text including: Walter Benjamin on "The Work of Art in the Age of Mechanical Reproduction;" Susan Sontag's ""On Photography; several chapters of Eisentein's Film Form, Bazin's "What is Cinema"; Laura Mulvey's "Visual Pleassure and the Narrative Cinema" etc.
This class is intended to be about, to further, your own work, what it is, what you plan with and through it, what you want it to be, both as it relates to your beginning Division Three projects, as well as to your general orientations as image-makers and-thinkers. It will be primarily up to you, therefore, to generate your visual production for the class - the work for it, that is to say, should extend from your own motivations and inspirations. A variety of exercises and assignments will, however, instigate and should develop structures for you with which to weave your work into larger statements, image-to-image and concept-to-concept. The course is open to advanced students beginning their Division III concentration or to late Division II students, dependent in the latter case on demand. Instructor Permission Required.
Professor of Film and Photography
Mail Code PF
Jerome Liebling Center 104
893 West Street
Amherst, MA 01002