Jan 30, 2012 1:40 PM
Jonah Bokaer leads Magdalena von Behr, CC Chang, and Alice Stern in a movement exercise in 2009. LOVIS DENGLER OSTENRIK
The Watermill Center’s history may begin with the artistic vision of its founder, Robert Wilson, but the legacy behind the land where it sits certainly does not.
It predates the art laboratory by half a century.
Today, the more than 20,000-square-foot building is an abode for artists—a place where innovation and boundary-breaking is encouraged—and the same can be said about its atmosphere in the mid-1920s, with two key differences.
One, the artists were engineers. And two, the creative center was a war technology think tank.
Last week, an intimate audience gathered in the Rehearsal Hall of the South Wing for a talk on the Watermill Center’s background—one that was relatively foggy until recently published in the book “The Watermill Center—A Laboratory for Performance: Robert Wilson’s Legacy,” which is a compendium of documents, text, images... more
It predates the art laboratory by half a century.
Today, the more than 20,000-square-foot building is an abode for artists—a place where innovation and boundary-breaking is encouraged—and the same can be said about its atmosphere in the mid-1920s, with two key differences.
One, the artists were engineers. And two, the creative center was a war technology think tank.
Last week, an intimate audience gathered in the Rehearsal Hall of the South Wing for a talk on the Watermill Center’s background—one that was relatively foggy until recently published in the book “The Watermill Center—A Laboratory for Performance: Robert Wilson’s Legacy,” which is a compendium of documents, text, images... more
