Mignon Nixon
Biographic Data
| ID | 3594030 |
|---|---|
| NAME | Mignon Nixon |
| GIVEN NAMES | Mignon |
| FAMILY NAME | Nixon |
| SIGNATURE | NIXON M |
| AFFILIATIONS | Courtauld Institute of Art |
| VERIFIED | No |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 17 |
| AUTHOR COUNT | 20 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
Killing for Show: A Conversation with Julian Stallabrass
In this conversation prompted by the publication of Julian Stallabrass's Killing for Show: Photography, War and the Media in Vietnam and Iraq (Rowman & Littlefield, 2021), Stallabrass and Mignon Nixon discuss the roles played by photography in two wars that, Stallabrass contends, were simultaneously staged for, and concealed from, the camera. The discussion encompasses diverse modes of war photography, from photojournalism and official military p…
Women, Art, and Power After Linda Nochlin
A brief remembrance of art-historian Linda Nochlin that celebrates her creative vigilance in attending to the nexus of women, art, and power in an era of ongoing political regression
Afrotropes: A Conversation with Huey Copeland and Krista Thompson
Huey Copeland and Krista Thompson speak with several October editors about afrotropes, recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity. Copeland and Thompson argue that ultimately such forms are transformed and deformed in response to the specific social, political, and institutional conditions that inform the experiences of black people as well as changing perceptions …
Death Work in Venice: In memoriam Khadija Saye
Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive-"designed with artists, by artists, and for artists" as the …
Crazy
Wilfred Bion, a mid-twentieth-century pioneer of the psychoanalysis of groups, described a group as the repository of the mad parts of ourselves. The group helps us to tame our madness, but it may also exaggerate it, reviving infantile trends, and an anxious group will typically select its maddest member as its leader. The mad leader is a kind of baby king, an avatar of our infantile past, who licenses a departure from reality and, in particular,…
Why Freud?” asked the Shrew: Psychoanalysis and Feminism, Post-Partum Document, and the History Group
Louise Lawler: No Drones
Hitler deployed the first pilot-less flying bombs, the doodlebugs, as weapons of terror over London. "The drone of the planes," Virginia Woolf related, is "like the sawing of a branch overhead. Round and round it goes, sawing and sawing." It falls to the civilian under aerial attack to "fight with the mind" by "thinking against the current, not with it." Thinking in darkness, thinking in bed, thinking with the unconscious-Woolf defends the suppos…
Anatomic Explosion on Wall Street
October 01 2012 Anatomic Explosion on Wall Street Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology2012 October (2012) (142): 3–25. https://doi.org/10.1162/OCTO_a_00105 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email V…
Losing Louise
October 01 2010 Losing Louise Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2010 October Magazine, Ltd. and Massachusetts Institute of Technology2010 October (2010) (134): 122–132. https://doi.org/10.1162/OCTO_a_00015 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views …
Feminist Time: A Conversation
April 01 2008 Feminist Time: A Conversation Rosalyn Deutsche, Rosalyn Deutsche Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics (MIT Press, 1996). She has published extensively and lectured internationally on art and democracy, public space, and feminist theory. Search for other works by this author on: This Site Google Scholar Aruna D'Souza, Aruna D'Souza Aru…
Spero's Curses
Homage to New York (1958), the work of a thirty-two-year-old, Chicago-trained figurative painter, parodies the mute bravado of the New York School. did this painting, Nancy Spero observes, a tombstone right in the middle, and then on each side are two heads with dunce caps and rabbit-like ears, and their tongues are sticking out. And on this phallic-like tombstone . . . are the initials of the artists who were prevalent then. . . . On top I wrote…
O + x
January 01 2007 o + x MIGNON NIXON MIGNON NIXON Search for other works by this author on: This Site Google Scholar Author and Article Information MIGNON NIXON Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 Mignon Nixon2007 October (2007) (119): 6–20. https://doi.org/10.1162/octo.2007.119.1.6 Cite Icon Cite Permissions Share Icon Share MailTo Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Pe…
Dream Dust
April 01 2006 Dream Dust Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (116): 63–86. https://doi.org/10.1162/octo.2006.116.1.63 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents …
On the Couch
OCTOBER 113, Summer 2005, pp. 39–76. © 2005 Mignon Nixon. There is a scene in Nanni Moretti’s film The Son’s Room (2001) in which a prospective patient, a middle-aged man making his first visit to a psychoanalyst, pauses upon entering the consulting room to examine the couch. It is a fine couch, he remarks, “simple, comfortable, even elegant in its way. . . . But I have no intention of lying on it.” Still, the analyst’s marine-blue couch receives…
A Conversation with Juliet Mitchell
July 01 2005 A Conversation with Juliet Mitchell Tamar Garb, Tamar Garb Search for other works by this author on: This Site Google Scholar Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Tamar Garb Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (113): 9–26. https://doi.or…
Eva Hesse Retrospective: A Note on Milieu
This issue of October is devoted, in part, to the projected image, a newly predominant form of artistic practice, that has brought about a change of artistic milieu. In simplest terms, this means that to view a show of contemporary art now often means entering a situation that offers no explicit protocol for the body. It means encountering unseen others in a shadowy space, then finding a place to stand, or lean, or sit uncomfortably, so as to att…
Round Table: Tate Modern
October 01 2001 Round Table: Tate Modern Mignon Nixon, Mignon Nixon Search for other works by this author on: This Site Google Scholar Alex Potts, Alex Potts Search for other works by this author on: This Site Google Scholar Briony Fer, Briony Fer Search for other works by this author on: This Site Google Scholar Antony Hudek, Antony Hudek Search for other works by this author on: This Site Google Scholar Julian Stallabrass Julian Stallabrass Sea…
Posing the Phallus
Why was the phallus posed (as a question, as an object, for a picture)? Why, between the mid-1950s and the late 1960s, was the phallus posed so often and so insistently: by Jasper Johns in 1955, with the inclusion of a green penis among the bodily fragments ranged in the shuttered compartments of his Target with Plaster Casts; by Yayoi Kusama, beginning in 1961, with her Accumulations, articles of furniture and clothing covered with dense fields …
The Duchamp Effect: Essays, Interviews, Round Table
You Thrive on Mistaken Identity
Since the early 1980s Barbara Kruger's work has insistently shown female bodies bound up by sadistic violence-acts of shattering, slicing, stripping, piercing, biting, stabbing, choking, smothering-and by masochistic enslavement-being framed, pinned, or frozen in ritual poses, being or making themselves objects, especially of the gaze, fusing with or being absorbed by powerful others. And the text messages superimposed over these pictures rituall…
On the Couch
OCTOBER 113, Summer 2005, pp. 39–76. © 2005 Mignon Nixon. There is a scene in Nanni Moretti’s film The Son’s Room (2001) in which a prospective patient, a middle-aged man making his first visit to a psychoanalyst, pauses upon entering the consulting room to examine the couch. It is a fine couch, he remarks, “simple, comfortable, even elegant in its way. . . . But I have no intention of lying on it.” Still, the analyst’s marine-blue couch receives…
Posing the Phallus
Why was the phallus posed (as a question, as an object, for a picture)? Why, between the mid-1950s and the late 1960s, was the phallus posed so often and so insistently: by Jasper Johns in 1955, with the inclusion of a green penis among the bodily fragments ranged in the shuttered compartments of his Target with Plaster Casts; by Yayoi Kusama, beginning in 1961, with her Accumulations, articles of furniture and clothing covered with dense fields …
Feminist Time: A Conversation
April 01 2008 Feminist Time: A Conversation Rosalyn Deutsche, Rosalyn Deutsche Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics (MIT Press, 1996). She has published extensively and lectured internationally on art and democracy, public space, and feminist theory. Search for other works by this author on: This Site Google Scholar Aruna D'Souza, Aruna D'Souza Aru…
Dream Dust
April 01 2006 Dream Dust Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (116): 63–86. https://doi.org/10.1162/octo.2006.116.1.63 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents …
A Conversation with Juliet Mitchell
July 01 2005 A Conversation with Juliet Mitchell Tamar Garb, Tamar Garb Search for other works by this author on: This Site Google Scholar Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Tamar Garb Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (113): 9–26. https://doi.or…
Afrotropes: A Conversation with Huey Copeland and Krista Thompson
Huey Copeland and Krista Thompson speak with several October editors about afrotropes, recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity. Copeland and Thompson argue that ultimately such forms are transformed and deformed in response to the specific social, political, and institutional conditions that inform the experiences of black people as well as changing perceptions …
Louise Lawler: No Drones
Hitler deployed the first pilot-less flying bombs, the doodlebugs, as weapons of terror over London. "The drone of the planes," Virginia Woolf related, is "like the sawing of a branch overhead. Round and round it goes, sawing and sawing." It falls to the civilian under aerial attack to "fight with the mind" by "thinking against the current, not with it." Thinking in darkness, thinking in bed, thinking with the unconscious-Woolf defends the suppos…
Round Table: Tate Modern
October 01 2001 Round Table: Tate Modern Mignon Nixon, Mignon Nixon Search for other works by this author on: This Site Google Scholar Alex Potts, Alex Potts Search for other works by this author on: This Site Google Scholar Briony Fer, Briony Fer Search for other works by this author on: This Site Google Scholar Antony Hudek, Antony Hudek Search for other works by this author on: This Site Google Scholar Julian Stallabrass Julian Stallabrass Sea…
You Thrive on Mistaken Identity
Since the early 1980s Barbara Kruger's work has insistently shown female bodies bound up by sadistic violence-acts of shattering, slicing, stripping, piercing, biting, stabbing, choking, smothering-and by masochistic enslavement-being framed, pinned, or frozen in ritual poses, being or making themselves objects, especially of the gaze, fusing with or being absorbed by powerful others. And the text messages superimposed over these pictures rituall…
You Thrive on Mistaken Identity
Since the early 1980s Barbara Kruger's work has insistently shown female bodies bound up by sadistic violence-acts of shattering, slicing, stripping, piercing, biting, stabbing, choking, smothering-and by masochistic enslavement-being framed, pinned, or frozen in ritual poses, being or making themselves objects, especially of the gaze, fusing with or being absorbed by powerful others. And the text messages superimposed over these pictures rituall…
The Duchamp Effect: Essays, Interviews, Round Table
Posing the Phallus
Why was the phallus posed (as a question, as an object, for a picture)? Why, between the mid-1950s and the late 1960s, was the phallus posed so often and so insistently: by Jasper Johns in 1955, with the inclusion of a green penis among the bodily fragments ranged in the shuttered compartments of his Target with Plaster Casts; by Yayoi Kusama, beginning in 1961, with her Accumulations, articles of furniture and clothing covered with dense fields …
Round Table: Tate Modern
October 01 2001 Round Table: Tate Modern Mignon Nixon, Mignon Nixon Search for other works by this author on: This Site Google Scholar Alex Potts, Alex Potts Search for other works by this author on: This Site Google Scholar Briony Fer, Briony Fer Search for other works by this author on: This Site Google Scholar Antony Hudek, Antony Hudek Search for other works by this author on: This Site Google Scholar Julian Stallabrass Julian Stallabrass Sea…
Eva Hesse Retrospective: A Note on Milieu
This issue of October is devoted, in part, to the projected image, a newly predominant form of artistic practice, that has brought about a change of artistic milieu. In simplest terms, this means that to view a show of contemporary art now often means entering a situation that offers no explicit protocol for the body. It means encountering unseen others in a shadowy space, then finding a place to stand, or lean, or sit uncomfortably, so as to att…
On the Couch
OCTOBER 113, Summer 2005, pp. 39–76. © 2005 Mignon Nixon. There is a scene in Nanni Moretti’s film The Son’s Room (2001) in which a prospective patient, a middle-aged man making his first visit to a psychoanalyst, pauses upon entering the consulting room to examine the couch. It is a fine couch, he remarks, “simple, comfortable, even elegant in its way. . . . But I have no intention of lying on it.” Still, the analyst’s marine-blue couch receives…
A Conversation with Juliet Mitchell
July 01 2005 A Conversation with Juliet Mitchell Tamar Garb, Tamar Garb Search for other works by this author on: This Site Google Scholar Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Tamar Garb Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (113): 9–26. https://doi.or…
Dream Dust
April 01 2006 Dream Dust Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2006 October Magazine, Ltd. and Massachusetts Institute of Technology2006 October (2006) (116): 63–86. https://doi.org/10.1162/octo.2006.116.1.63 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents …
Spero's Curses
Homage to New York (1958), the work of a thirty-two-year-old, Chicago-trained figurative painter, parodies the mute bravado of the New York School. did this painting, Nancy Spero observes, a tombstone right in the middle, and then on each side are two heads with dunce caps and rabbit-like ears, and their tongues are sticking out. And on this phallic-like tombstone . . . are the initials of the artists who were prevalent then. . . . On top I wrote…
O + x
January 01 2007 o + x MIGNON NIXON MIGNON NIXON Search for other works by this author on: This Site Google Scholar Author and Article Information MIGNON NIXON Online Issn: 1536-013X Print Issn: 0162-2870 © 2007 Mignon Nixon2007 October (2007) (119): 6–20. https://doi.org/10.1162/octo.2007.119.1.6 Cite Icon Cite Permissions Share Icon Share MailTo Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Pe…
Feminist Time: A Conversation
April 01 2008 Feminist Time: A Conversation Rosalyn Deutsche, Rosalyn Deutsche Rosalyn Deutsche is an art historian and critic who teaches at Barnard College. She is the author of Evictions: Art and Spatial Politics (MIT Press, 1996). She has published extensively and lectured internationally on art and democracy, public space, and feminist theory. Search for other works by this author on: This Site Google Scholar Aruna D'Souza, Aruna D'Souza Aru…
Losing Louise
October 01 2010 Losing Louise Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online Issn: 1536-013X Print Issn: 0162-2870 © 2010 October Magazine, Ltd. and Massachusetts Institute of Technology2010 October (2010) (134): 122–132. https://doi.org/10.1162/OCTO_a_00015 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views …
Anatomic Explosion on Wall Street
October 01 2012 Anatomic Explosion on Wall Street Mignon Nixon Mignon Nixon Search for other works by this author on: This Site Google Scholar Author and Article Information Mignon Nixon Online ISSN: 1536-013X Print ISSN: 0162-2870 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology2012 October (2012) (142): 3–25. https://doi.org/10.1162/OCTO_a_00105 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn Email V…
Louise Lawler: No Drones
Hitler deployed the first pilot-less flying bombs, the doodlebugs, as weapons of terror over London. "The drone of the planes," Virginia Woolf related, is "like the sawing of a branch overhead. Round and round it goes, sawing and sawing." It falls to the civilian under aerial attack to "fight with the mind" by "thinking against the current, not with it." Thinking in darkness, thinking in bed, thinking with the unconscious-Woolf defends the suppos…
Why Freud?” asked the Shrew: Psychoanalysis and Feminism, Post-Partum Document, and the History Group
Afrotropes: A Conversation with Huey Copeland and Krista Thompson
Huey Copeland and Krista Thompson speak with several October editors about afrotropes, recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity. Copeland and Thompson argue that ultimately such forms are transformed and deformed in response to the specific social, political, and institutional conditions that inform the experiences of black people as well as changing perceptions …
Death Work in Venice: In memoriam Khadija Saye
Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive-"designed with artists, by artists, and for artists" as the …
Crazy
Wilfred Bion, a mid-twentieth-century pioneer of the psychoanalysis of groups, described a group as the repository of the mad parts of ourselves. The group helps us to tame our madness, but it may also exaggerate it, reviving infantile trends, and an anxious group will typically select its maddest member as its leader. The mad leader is a kind of baby king, an avatar of our infantile past, who licenses a departure from reality and, in particular,…
Women, Art, and Power After Linda Nochlin
A brief remembrance of art-historian Linda Nochlin that celebrates her creative vigilance in attending to the nexus of women, art, and power in an era of ongoing political regression
Killing for Show: A Conversation with Julian Stallabrass
In this conversation prompted by the publication of Julian Stallabrass's Killing for Show: Photography, War and the Media in Vietnam and Iraq (Rowman & Littlefield, 2021), Stallabrass and Mignon Nixon discuss the roles played by photography in two wars that, Stallabrass contends, were simultaneously staged for, and concealed from, the camera. The discussion encompasses diverse modes of war photography, from photojournalism and official military p…
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