Museum of Art

This installation of photographs and single-channel video works is offered in conjunction with fall courses in both Film and Media Culture and the History of Art and Architecture. The exhibition includes works by pioneers of time-lapse photography Eadweard Muybridge and Harold Edgerton, whose images capture bodies in motion, and more recent artists like Hiroshi Sugimoto, who uses extremely long exposure times to create visions of stillness.

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.

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.

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.