Tipton was born in Columbus, Ohio. In 1958, she graduated from Cornell University.[2] While performing as a dancer and rehearsal mistress, she noticed the importance of lighting, and studied dance lighting with Thomas Skelton, becoming his assistant.[3]
She designed the lighting for Baryshnikov's production of The Nutcracker, both for the stage and for television.[4]
In 2001, Tipton was awarded The Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind's enjoyment and understanding of life."[5]
A 1991 biographical article in The New York Times stated: "There are perhaps a dozen lighting designers in the country who work steadily enough to support themselves by their art, and maybe half a dozen who are acclaimed and in demand. Among these is Jennifer Tipton, characterized most often for the impeccability of her taste and a certain precision and cerebral quality to her work -- which have earned her two Tony awards, among other prizes during her 25 years in the theater."[9]
In a New York Times article, Tipton stated: "I feel that light is like music. In some abstract, emotional, noncerebral, nonliterary way, it makes us feel, it makes us see, it makes us think, all without knowing exactly how and why."[10] She talks about how probably 99.9% of the audience isn't even really aware of it. A lot of thought is put into the lighting of a show, dance, performance, etc. and almost no one really appreciates it.[10]
Tipton believes that the most important differences with designing lighting for dance and theater is that in dance, darkness is forbidden. You have to see dance to know what's going on but in theater, you just need to listen to it.[10]
Politico described Tipton as seeing light "as a potent, versatile, mysterious, art form".[11]
^Robinson, Alice M.; Roberts, Vera Mowry; Barranger, Milly S. (eds.). Notable Women in the American Theater: A Biographical Dictionary. Westport, Connecticut. p. 874.