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tivers. Along the walls in Gallery 250 are also four River Portraits,

diamond-shaped Mississippi River scenes imprinted onto mirrored

surfaces, hung in pairs. In each grouping, one of the river scenes is

an inversion of its parkner. These comparisons suggest the earthquakes

of 1811 and 1812 during which the Mississippi River ran backwards,

a primal disordering of the natural world. The painterly and synthetic

colors and reflective quality of these River Portraits complement the

sculptural and film elements of the installation.

Earlier in her career, Stanislav worked for a number of yeats for

the prominent artist Matthew Barney. She assisted Barney with his

Cremaster Cycle films, and her use of a broad range of media is

informed by that artist's work. Her ambitious output perhaps looks

most insistently to Land Art pioneer Robert Smithson. Stanislav

shares Smithson's interest in complex natural and man-made

environments, and also in using mirrored surfaces to reflect, multiply,

and fragment space. Stanislav writes that her "reflective installations

erode the boundary between subject and object. Participants enter

an interactive environment saturated with reflections, sounds,

memories, and images, an experience made profoundly physical

through the perceptual tricks played by light, reflections, and

immersive sounds." This immersive experience is enhanced by

an installation soundtrack that references the artist's fascination with

birds. It includes remixed samples from Olivier Messiaen's Reveil des

oiseaux, a symphonic work of transcribed birdsong, as well as birdcalls

recorded by the artist on the Mississippi Flyway, and trumpet solos

from lazz musician, Miles Davis.

This exhibition is complemented by Stanislav's earlier film, B]owAway,

2008, on view in Gallery 301, which highlights her sustained work in

mirrored sculpture. This film shows a dramatic explosion of mirrored

obelisks-symbols of empire-on the Bonneville Salt Flats in Utah in

an homage to the iconic final sequence of Michelangelo Antonioni's

film Zabriskie Point. Featuring recurring images of a horned owl, as

well as jeweled horse heads, BlowAway also provides valuable context

for the artist's long-standing engagement with natural history.

Andrea Stanislav's Convergence lnfini'h5 tepresen'ts an important

continuation and, in some ways, culmination of the artist's dissection

of the idea of empire. While conceptually complex, the exhibition

draws on the history of St. Louis, resulting in an installation of

seductive color and formal richness. As the artist says, her work is one

of critique and yet, at the same time, "a gesture toward the sublime,

invoking a terrifying beauty.?

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Currents 112: Andrea Stanislav: Convergence

Infinite is curated by Simon Kelly, curator of modern

and contemporary art, with Molly Moog, research

assistant. Andrea Stanislav, Simon Kelly, and

Molly Moog would like to thank the following for

their support and assistance with this project:

Fredrick Keith Barker, Brent Benjamin, John Blair,

Ann Burroughs, Jason Busch, Kristin Cassidy,

Carmon Colangelo, Heather Corcoran, Zlatko Cosi6,

Jon Cournoyer, Jennifer Doyle, Jeanette Fausz,

Ana Paula Ferreira, Lynn Giardina, Rachel Heaton

and Pam Lippert at Tree House Wildlife Center,

Dan Karban, Reid Kruger, Dean Lozow, Jacopo

Mazzoni, Courtney McCarty, Patricia Olynyk,

and Kari Varner.

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Special thanks ate due to Michael Freund for

his continuing support of this collaboration

between Washington University in St. Louis

and the Saint Louis Art Museum.

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Ap@gee 1969, 2016.

Possession and drsplay of the eagle specrmen by the Sarnt Louis Arl Museumand lhe artrst rs by permrssron of the U.S. Frsh and WNdlife Servrce.

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