Watermill Center Celebrates Century of Innovation at Annual Fundraiser

As a newcomer to the Hamptons, I feel obligated to go to every event to which I am invited. Sometimes it even seems like I am going to The opening of an envelope! But on July 27, those illusions were completely shattered as the regular South Fork events were totally eclipsed when the Watermill Center had its annual fundraiser and dinner titled A Laboratory: 100 Years of Experimentation — but the title did little to prepare me for what was coming!

We arrived by car down a narrow road off the beaten track in Watermill to find a well-organized staff of valet at the ready. From there we crossed the street and walked down a dimly lit path through a cascade of trees and shrubs to find a grouping of groaning rock formations scattered about the fern laden forest. The sounds that were emanating from the rocks were a bit guttural and unrecognizable as human sounds, so I kept walking along the pathway.

From there we came across a young and lithe pig person, whose bald head, exaggerated and pointy ears, and extended snout certainly caught my attention. The pig-person was standing upright and dressed only in a short and asymmetric pleated blazer, showing thin legs tapering down to a pair of red patent leather lace up shoes. Aside from its basic appearance, this peculiar cross breed was enhanced by the smoke which was swirling from under its blazer and swirling around its neck and face. This apparition, which was straight out of the cantina scene of Star Wars, was holding onto a martini in one hand and a vape in the other, which was hardly notable considering the rest of the image. I was at once horrified and delighted by this artistic vision. But you can pick either reaction for yourself, or combine them as I did.

My meandering group of art aficionados led the way further down the forest path past a group of 10 people dressed in all white chanting softly in a monk-like way. This led us to a green windowless mini cabin. I had to crouch down to go through the tiny doorway entrance which opened into a dark interior. Inside there were multiple TV screens showing flickering images of people doing what can only be described as versions of 1980s era Jazzercize. It was a musty little room with high ceilings and a dirt floor covered in a green grassy and moss substance. Frankly, it was a bit claustrophobic, so I didn’t spend too much time there watching the videos. But it was unique.

Walking on the trail further, we came upon two girls entangled together as they gently squirmed and wiggled together on the ground in an uncomfortable and oddly sexual contortion. We paused and my only thought was that their backs were certainly going to hurt them later! From this point the path led the way eventually to a bar in the woods laden with yummy concoctions served by several handsome mixologists (aka hot bartenders). I tried to keep my wits about me by drinking water, as my friends imbibed in various cocktails. And so freshly lubricated, we ventured onto what we thought was the final installation. As we walked down the slight decline, you could hear a tribal thinking in the distance which drew us closer to the exhibit.

And there they were: two human forms wearing gray outfits and whose heads were obliterated by large Sci-Fi looking, dimensional headdresses. These figures were standing on a large and slightly raised platform where they were picking up huge heavy cement balls which were larger than a basketball. Once they picked them up, they gently moved around the space and dropped the balls with a thud to a new area. The sounds were jarring to say the least. I was both enchanted and surprised equally. As I stood there in wonder, I spoke to my friend, art consultant Kim Heirston, who said that the creator of this art was Audrey Gruss’ nephew. Mrs Gruss, who was dressed in an acid chartreuse floral outfit, also happened to be standing next to me as I complimented her on her nephew’s outstanding work.

From there we walked the last bit of the trail and into an open area adjacent to the building which houses the many visiting artists and their workspaces. As we stood there watching a huge crane spin a large clock and a rock suspended from long suspension cables, a kind gentleman asked me if we had walked the trail and seen the performance art? That man turned out to be Robert Wilson, founder and artistic director of the center. And what a kind and gentle man he was! We spoke of the clock and the rock as they spun around above everyone’s heads, as I softly sang the song by The Steve Miller Band “Fly Like an Eagle” Somehow the words “Time keeps on slippin’ into the future” seemed very appropriate, as we made our way to another bar.

When it was time for dinner, the hundreds of guests made their way down to a tented area filled with long picnic tables. We bumped into an old friend, Helen King who is the president and CEO of Van Cleef and Arpel of the Americas. Van Cleef was the sponsor of the evening.

The evening progressed with amazing foods presented family style, a short modern dance piece, and a live auction to benefit the center.

This writer loved every moment of it! Touché Mr. Wilson, for knocking it out of the park!