Museum of Art

Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the straight male athlete, as someone who is typically aggressive, hyper-competitive, and emotionally undemonstrative. Mixed Signals focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.

Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the straight male athlete, as someone who is typically aggressive, hyper-competitive, and emotionally undemonstrative. Mixed Signals focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.

Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the straight male athlete, as someone who is typically aggressive, hyper-competitive, and emotionally undemonstrative. Mixed Signals focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.

Despite all that has changed since sexual and social identity became a hot-button topic in art production and discourse throughout the 1970s, ’80s, and ’90s, one American stereotype still remains particularly entrenched: that of the straight male athlete, as someone who is typically aggressive, hyper-competitive, and emotionally undemonstrative. Mixed Signals focuses on artists from the mid-1990s to the present who question the notion of the male athlete as the last bastion of uncomplicated, authentic identity in American culture during the preceding decades.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.

For the past forty years the Middlebury College Museum of Art and its predecessor, the Christian A Johnson Memorial Gallery (1968-1992) have been bolstered by a loyal and generous membership group. Comprised of community members, alumni, faculty, staff, students, and their parents alike, the Friends of Art (now called the Friends of the Art Museum) have been instrumental in helping to build a permanent art collection for the College. In 1968, with the inauguration of the Christian A. Johnson Memorial Art Building, the College embarked upon the establishment of a permanent art collection.