The Ark: A Transformative Journey Through Art and Mythology at The Church in Sag Harbor

There are exhibitions that entertain, exhibitions that educate, and then there are exhibitions that fundamentally transform how we see the world around us. "The Ark," currently on view at The Church in Sag Harbor through September 1, falls decisively into the latter category. Curated by Eric Fischl, this collection of animal sculptures by over 40 international artists creates a meditation on humanity's relationship with the natural world, filtered through the biblical mythology of Noah's Ark and the Great Deluge.

Walking into The Church's main gallery, visitors are immediately confronted with what has become the exhibition's unofficial mascot: Daniel Firman's breathtaking elephant sculpture, "Le Sommeil en Forêt" (Sleeping in the Forest). This isn't merely an elephant, it is a gravity defying marvel that is massive but also impossibly light and graceful. This elephant was created through an intricate process involving ten 3D printers working continuously for six months in France. The sculpture arrived in eleven crates and was assembled on-site by Firman himself, with all steaming, joinery, and painting completed in situ. What makes this piece particularly remarkable is its deceptive lightness, the entire sculpture weighs just 200 pounds, which is a testament to Firman's innovative approach to challenging our perceptions of space, gravity, and balance.

Deborah Butterfield's iconic horse sculpture, on loan from the Whitney Museum of American Art, adds another layer of gravitas to the exhibition. This piece, one of the first three horse sculptures ever created by Butterfield, represents a pivotal moment in contemporary sculpture. Butterfield's "metaphorical substitute" for self and identity transforms the equine form into something deeply human, exploring themes of femininity and wildness through her signature combination of found wood and clay over an internal armature. The Whitney's enthusiasm for lending this piece, which has never been displayed in their new building, speaks to The Church's growing reputation as a serious cultural institution.

The most dramatic moment in the exhibition comes with Louise Bourgeois's "SPIDER COUPLE," a twelve-foot sculpture that marks its first appearance at an arts institution on the East End. Positioned on The Church's outdoor deck adjacent to the mezzanine level, this iconic work commands attention and inspires curiosity in the viewers. Bourgeois explores maternal relationships through arachnid imagery. "The spider is an ode to my mother," she famously said, "Like a spider, my mother was a weaver", takes on new meaning in this context of survival and renewal.

Kate McGwire's "Ravish" presents another fascinating intersection of craft and concept. This British artist's use of goose feathers to create undulating abstractions that simultaneously suggest biological forms demonstrates the kind of material innovation that makes "The Ark" so compelling. McGwire's inspiration from the wetlands and wildlife of the English countryside translates into sculptures that seem to move with the rhythm of water itself, their carefully arranged feathers creating the illusion of musculature and movement. Each feather is individually placed, yet it’s impossible to see where one starts and ends. It was truly a standout piece in the curation.

Claudette Schreuders's sculptural work adds crucial contemporary and global perspectives to the exhibition. The South African artist's exploration of post-apartheid "African" identity through her carved figures brings political and social dimensions to the animal-human relationship that the exhibition explores. Her piece, based on a photograph of her father taken in 1970 at Kruger National Park, creates a bridge between personal memory and collective history that enriches the exhibition's meditation on survival and transformation.

The exhibition's thoughtful organization into thematic zones (mythology, empathy, archaeology both real and imagined) demonstrates Fischl's sophisticated understanding of how viewers experience art. Particularly compelling is the archaeology section, which features Alan McCollum's haunting "THE DOG FROM POMPEI" (1991). This work emerged from McCollum's residency at Studio Trisorio in Naples, near the historical Pompeii site, where he gained rare permission to create casts from an actual Pompeii fossil discovered in 1874. The resulting fiberglass-reinforced hydrocal sculptures are simultaneous copies and distinctive historical markers, exploring themes of preservation, memory, and the passage of time. McCollum's mass-produced series of these fossilized forms creates a meditation on survival and catastrophe that resonates powerfully with the exhibition's central metaphor of the Deluge.

The mythology section gains additional depth through Kiki Smith's "Harpies," creatures that embody the exhibition's exploration of the boundary between human and animal realms. These half-human, half-bird figures, complete with webbed feet and dual tails, represent Smith's ongoing fascination with transformation and metamorphosis. These half animal, half human creatures gaze upon a deer in repose on the ground (Rosemary Trockel’s deer, Creature of Habit 2), which is a source of debate at The Church. Is the deer alive or merely resting? Our guide was in the “resting” camp pointing out the ears are in two different directions indicating life, as deer use their sense of sound or directionals as directionals. So he's perceiving sound, he or she. You will have to see yourself when you go!

The inclusion of works like William Kentridge's contrasting bronze sculptures, from the delicate "Pigeon" to the more substantial "Stroke," showcases the versatility of contemporary artists working with animal imagery. Similarly, the presence of Nichola Theakston's work, representing the Animalia Movement, a group of UK and Belgian artists dedicated to animal sculpture who maintain their own ecosystem of galleries, collectors, and publications, opens up entirely new territories for consideration.

The Church: A Cultural Institution on the Rise in the East End

The excellence of "The Ark" cannot be separated from the equally remarkable story of The Church itself. This architectural gem in Sag Harbor represents an equally inspiring cultural transformation on the East End. Originally constructed as a community gathering space, the building's journey to its current incarnation as a premier arts institution is a testament to the power of vision and community support.

The building's recent history reads like a cautionary tale that became a fairy tale. For a decade, the structure changed hands multiple times, nearly becoming a textile production facility, then almost transformed into a single-family residence. As Executive Director Sheri Pasquarella notes, "Unfortunately for that family, they fell on hard times and they had to put the building on the market. But in many ways, we think of it as a blessing for the entire community." The evidence of this blessing is overwhelming: The Church now welcomes approximately 16,000 visitors annually to a village of just 2,800 residents, a remarkable feat that speaks to the institution's ability to draw audiences from across the region and beyond.

What makes The Church special is its year-round programming and its commitment to integrating local artists with international talent. Rather than segregating community artists into separate exhibitions, The Church presents regional creators alongside established international artists, creating a sense of parity and connection that is rare in the art world. This approach reflects the institution's understanding of its unique position, close enough to the art world (in New York City) to understand its context and conversations, yet far enough away to maintain its own distinct perspective and mission.

When the founders acquired the property, the original stained glass windows had been sold off, leaving empty frames that demanded a creative response. Eric Fischl's "Saints of Sag Harbor" installation fills these spaces with portraits of over 100 artists who have lived, died, and spent significant time in Sag Harbor, creating a memorial to the area's artistic heritage. The criteria for inclusion is as follows: each figure must have had a creative practice that extended beyond the East End, demonstrating meritorious relevance to the broader cultural conversation.

Among these "saints" is Amaza Lee Meredith, the first African-American female architect of record, who came to Sag Harbor and established the Azurest community, one of the area's historically Black communities. Her inclusion reflects The Church's commitment to telling the complete story of Sag Harbor's cultural history, encompassing the full diversity of voices that have shaped this remarkable place.

Artist Residency Program Highlights Talent from the Community

The Church's residency program represents perhaps the most tangible expression of its mission to foster creativity on the East End and honor its legacy as a maker's village. In this region the ever-growing cost of living creates significant barriers for artists seeking housing and workspace, and The Church's residency program serves as a vital lifeline for creative practitioners.

Rather than operating through open applications, The Church works with a carefully curated list of recommenders, artists and art world professionals who suggest 2-3 candidates for consideration. This system ensures that the program reaches diverse demographics across the country, with particular attention to different ages, races, and backgrounds. The commitment to featuring underrepresented voices is not merely aspirational but reflects real outcomes: in 2023, 66% of residents were Black by self-identification, with over 40% in the following year.

This focus on diversity and inclusion connects directly to the region's profound artistic heritage. The artistic tradition of eastern Long Island stretches back to Indigenous makers from 18,000 years ago and encompasses the Abstract Expressionist movement that was largely based in the area, including Andy Warhol's experimental filmmaking at his Montauk compound, and celebrates the rich tradition of art and design emerging from the historically Black beachfront communities of Sag Harbor. The Church takes this legacy seriously, viewing its residency program as essential to continuing this remarkable tradition.

The residency program also reflects The Church's understanding that supporting artists involves more than providing space. Creating connections, fostering dialogue, and building community are vital to supporting a thriving arts ecosystem. The integration of residents into the institution's programming, combined with the opportunities for interaction with visiting artists and curators, creates an environment where artistic practice can flourish.

For anyone traveling to the East End this season, "The Ark" is not merely recommended, it is essential. This is an exhibition that will change how you see the relationship between humans and animals, between art and life, between individual creativity and collective survival. In a world that often feels fragmented and disconnected, "The Ark" offers a powerful vision of continuity, connection, and hope. The Church has established itself as a cultural destination that rivals any institution in the region, and "The Ark" demonstrates why. This is museum-quality curatorial work presented in a space that maintains the intimacy and accessibility that makes art truly transformative.