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Jovial Tales for Tragic Sensibilities Paperback – July 17, 2003


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Editorial Reviews

About the Author

Jeanne C. Finley and John Muse have worked collaboratively on numerous experimental documentaries and video installations. These works have been exhibited nationally and internationally, at festivals and galleries, including the San Francisco International Film Festival, Berlin Video Festival, Toronto, and World Wide Video Festival. They are 2002 Rockefeller Media Arts Fellows. In 2000 they received a Creative Capital Foundation Grant, and from 1995 to 1996 served as Artists in Residence at the Xerox Palo Alto Research Center.

Jeanne C. Finley, a Guggenheim Fellow, Fulbright Scholar, and Alpert/Cal Arts Award winner, is a Professor of Media Studies at the California College of Arts and Crafts. She lives in San Francisco with her husband, daughter, and son.

John Muse is currently a Ph.D. candidate at U.C. Berkeley in the Department of Rhetoric. He was recently appointed Graduate Fellow by Berkeley's Townsend Center for the Humanities. He lives in Vallejo, California with his wife and daughter.

Mark Alice Durant has written extensively on the nexus of photography, performance and cultural phenomena with essays appearing in such journals as Art in America, New Art Examiner, Exposure, Afterimage, and the Boston Book Review. He is author of McDermott and McGough: A History of Photography, co-author of Vik Muniz: Seeing is Believing (both Arena Editions, 1998), author of Mark Romanek: Music Video Stills (Tondo, 1999) and contributor to The Passionate Camera: Photography and Bodies of Desire (Routledge 1998). He was co-curator and essayist for Some Assembly Required: Collage Culture in Post-War America (Everson Museum 2002). Most recently he is the author of Robert Heinecken: A Material History (Center for Creative Photography 2003) and co-editor and essayist for the Fall 2003 issue of the CAA Art Journal on the topic of Photography and the Paranormal. He teaches at the University of Maryland, Baltimore County and the Milton Avery Graduate School of the Arts at Bard College.

Susan Miller has been the Executive Director of New Langton Arts since 1993. She has curated, organized, and assisted numerous artist projects including Untitled by Ursula Von Rydingsvard, Capp Street Project, 1990; Black Box/White Box by Adrian Piper, New Langton Arts 1993; The Library; A Public reading Room on the Atomic Bombing of Nagasaki, New Langton Arts, 1995; Alchemy by Lyle Ashton and Thomas Allen Harris, New Langton Arts, 1998; Jim Pomeroy:: A Retrospective, New Langton Arts, 1999; and Cote Ouest, Rebecca Bourigault, Mattieu Laurette, and Marie Sester, New Langton Arts, 1999. She was the Program Director at Capp Street Project (1989-1992) and Promotions Director at the Institute of Contemporary Art, Boston (1983-1986). She graduated with a BA in Art from Colby College in 1980. She is pursuing a Masters degree from the Visual Criticism Program at CCAC, San Francisco.

Margaret Morse teaches in the Film and Digital Media Department at the University of California at Santa Cruz. She is the author of Virtualities: Television, Media Art and Cyberculture (Indiana Univ. Press, 1998) and co-author of Hardware, Software, Artware (Cantz Verlag and ZKM 1997), as well as numerous essays on contemporary art, the erotics of listserves, and what cyborgs eat to whether or not robots might feel pain.

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Product Details

  • Paperback: 96 pages
  • Publisher: New Langton Arts (July 17, 2003)
  • ISBN-10: 0962701033
  • ISBN-13: 978-0962701030
  • Product Dimensions: 6.8 x 5.2 x 0.4 inches
  • Shipping Weight: 4.8 ounces
  • Amazon Best Sellers Rank: #12,638,942 in Books (See Top 100 in Books)

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