Love & Friendship, Tickled at NaFF both made me cry laughing

You haven’t heard from me since winter when I curled up into my snail shell and went to sleep. Since then, I’ve been thinking a lot about making my arts coverage more intentional and re-focusing on arts activism in Nashville. Lots of great stuff coming soon.

It’s spring time now and I have awakened and stretched my little snail body to the sky just in time for Nashville Film Festival. Check out the Scene’s coverage here; I contributed to the New Directors award category. My favorites were To Keep the Light, The Fits, Banana, and The Elk. It’s a great category with some top notch women in director and lead actress roles.

I’ll have some suggestions for you in a bit, but here’s very quick a run-down of Day 1.

Whether you’re a fangirl of Jane Austen or not, Love & Friendship is a must-see this year. The place: England. The time: 1790s. The woman: Lady Susan, played pitch-perfect by Kate Beckinsale, who, following the death of her husband, arrives “destitute” at her brother-in-law’s countryside home. Susan is beautiful, sharp, and cunning, employing exhausting (and dazzling) linguistic acrobatics to get her way. She defends her sense of superiority to her confidant Alicia (Chloe Sevigny) so earnestly that it’s easy to see why nearly everyone falls for her. An incorrigible flirt and irredeemable gossip, Lady Susan never falters. She is mired in a society where without a husband of some standing, she and her daughter must be dependent on relatives and friends. Hating her is easy. Admiring her much more fulfilling. love and friendship

Directed by Whit Stillman (Metropolitan), Love & Friendship boasts a vibrant supporting cast. Xavier Samuel plays Reginald DeCourcy, the attractive young man Susan seeks to engage. Samuel is perfect in the role of a gullible, love-struck heir, and Emma Greenwell plays his sister, who leads the family in opposing the courtship. Among the best, however, are Justin Edwards, playing a clueless Charles Vernon, who has some hilarious one-liners; Morfydd Clark, playing Susan’s daughter, the meek Frederica who is most tortured by her mother’s manipulations; and Tom Bennett, playing Sir James Marin, whose antics brought down the house.

Innuendo and euphemism also come to feel like characters because they show up so frequently and with such success. The script, written by Stillman and based on Jane Austen’s epistolary novel Lady Susan, is jam packed with unpredictable turns of phrase, usually delivered by Beckinsale, who is – as I mentioned – sheer perfection. I skipped out of the theater to Table 3 – where I sucked down a bowl of creamy risotto – and then headed back to the cinema.

New Zealand journalist David Farrier goes down a bizarre rabbit hole in Tickled, a new documentary that was praised at Sundance. It starts when Farrier discovers a Facebook page for Endurance Tickling Reality Competitions. Initial research heeds several videos of high school age, white, athletic boys straddling each other – sometimes 4 on 1 – and tickling.

His curiosity piqued, he writes the page owner, Jane O’Brien Media, requesting an interview. What follows alters his life and sends him and  co-director Dylan Reeve on a mission into this strange subculture that they can hardly believe exists. tickled

The premise itself is so funny –  whenever Farrier said the word “tickling” I died laughing – that I couldn’t put the extent of what they uncovered into perspective until the ride home. What first appears to be a harmless kink folds out like a pop-up book about exploitation, manipulation, and forgery that’s up there with cult documentaries. Farrier is so pleasant that when Jane O’Brien Media sends three lawyers to threaten him in New Zealand, he greets them with a cheerful, rainbow welcome sign at the airport. Jane O’Brien’s people are a strange mix of pleasant and accusatory, as if they aren’t on the same page, and as soon as they leave for L.A., Farrier and Reeve follow them.

As the story unfolds, the directors interview young men who agreed to be in tickling videos but whose privacy was violated when Jane O’Brien Media broke contract and made their videos public. When one man successfully petitioned YouTube to take his down, Jane O’Brien unleashed a Scientology-level-crazy doxing that has followed him for years. Unable to find “Jane,” the filmmakers look into other ticklers and find themselves tracing a history of videos dating back to dial-up. Farrier and Reeve masterfully balance teeth-gritting suspense with the utter silliness of the topic in a way that allows the film to have multiple impacts. First, there are dozens of hilarious moments found in looks and gestures throughout the documentary. Farrier’s unobtrusive narration provides structure and amplifies the sleuth-like feel. It’s also a nail-bitter; as the directors zero in on “Jane,” we live the suspense with them. Finally, it’s guerrilla-style investigative journalism at its best, as Farrier and Reeve take their small crew back and forth between New Zealand and New York, chipping away at the truth.

Tickled plays again on Friday at 12:30 p.m., is playing at many festivals in the next couple of months and will be released in the U.S. on June 24.

Love & Friendship opens May 13.

Today, I’m seeing Little Men and Sing Street. Much to my dismay, the regular world does not stop during NaFF, but I plan on seeing as many films as humanly possible. I’ll report back!






Last Day to Donate to Locate Arts

tennessee logoQuick post. Locate Arts, which I told you about back in March, is on its final day of a Kickstarter that would support its first year of operations costs. This is your last chance, and yes, they have to meet their goal to get even one red cent that’s been pledged.

If you’ve ever said the following, you owe it to yourself to donate.

  1. “Nashville doesn’t support the arts.”
  2. “There isn’t enough critical writing about art in Nashville.”
  3. “I wish I knew what was happening in Knoxville, or Memphis, or Chattanooga, or any little arts enclave in Tennessee.”
  4. “Not enough people buy art in Nashville. How can I make a living?”
  5. “Screw this. I’m going to New York/L.A. where I can see “cutting edge” contemporary art.”

As far as I can tell, you don’t get to complain about Nashville’s art scene if you don’t give to this campaign. Here’s how Locate Arts will help you personally.

  1. If you’re an artist: Locate Arts will have a statewide artist registry with links to your website or gallery. It will be user-friendly, beautiful, and connect you to people within and outside of Tennessee. It will also list all contemporary art exhibitions in the whole damn state. Your practice will be more sustainable because see number 2.
  2. If you are an arts patron: Whether you have the money to purchase art or not, making us art outward facing will bring more artists to Tennessee. It will promote contemporary art in Tennessee to the rest of the country (and beyond!) so that art buyers will put us on their map. More artists will make their home in our cities. Our creative economies will pick up. That means more art events for those of us (ME!) who can’t afford to buy art much.
  3. Umm…if they get off to a good start financially, Locate Arts can start thinking about a Tennessee biennial, which let’s admit would be fucking great.
  4. If you are a gallery owner or curator: See 1-3.

Finally, we will harness the energy of our art scenes across the state, creating more collaborations, more support, more cross-pollination in writing, event-planning, and contact. Here are some things I wrote after I visited Memphis for 24 hours. There’s so much to see and do. Locate Arts will open doors, and behind these doors, we’ll find enrichment and happiness.

If you don’t want to listen to me, listen to Lain York, lifelong Nashvillian, artist, and curator of Zeitgeist: “More communication between the studio communities is crucial and directly affects regional museums, academic programs, state and city arts commissions, commercial galleries, and independent artist-run initiatives. Conduits like these industry hubs will have a more articulate sense of what artists are doing to pass along to supporting constituencies. The initial conversations of LOCATE Arts are already giving contemporary art a higher profile in Tennessee.”

So donate to the Kickstarter today! Even $10 bucks helps. And if have more to spend, you can get artwork from local geniuses like Jodi Hays, Karen Seapker, Shana Kohnstamm, and more from around Tennessee.

The Mayoral Candidates Talk Arts at Last Night’s Forum

Last night, all seven of the mayoral candidates discussed their vision for the arts in a forum hosted by Nashville Arts Coalition. All agree that arts and culture must be grown and sustained. Many discussed the fact that Nashville trails its peer cities in arts spending. The national average is $5.44 per capita spent on the arts and Nashville falls behind at $4.10. Cities like Charlotte and Austin are way ahead. Here are my take-aways from the forum.

Howard Gentry stressed arts programming in traditionally underserved communities, calling for revitalization districts. He says that “the arts and cultural aspect of the city has flatlined since 2000,” and he won’t shy away from dedicated funding. All of the candidates focused on affordable space. One of Gentry’s solutions is looking into unused and underused commercial spaces, especially in traditionally underserved neighborhoods.

Charter School founder Jeremy Kane mentioned moving forward with Envision Cayce, a revitalization project for the Cayce homes in East Nashville off Shelby Avenue. Kane talked the most about education and looking for innovative ways to involve artists with Metro schools. He also talked about the possibility of crowdfunding for the arts and noted improving public transit on his list of priorities.

Councilwoman Megan Barry discussed the Artisan Manufacturing Zoning bill that’s just been filed with council. Gentry and Charles Robert Bone agree that re-zoning is necessary to allow artists and artisans to have live/work spaces where they can legally manufacture. Barry also wants to expand the THRIVE program and is looking to Barnes Housing to continue providing affordable housing.

Bone also said he wants to provide more affordable loan options for artists: “If you’re an entrepreneur in this city and you want to start a new business, there’s 50 individual investors that I can tell you to go see; there’s 25 different funds. I think we have to be better and more creative at how we provide the same type of funding for those in the arts and those who want to pursue their creative interests,” Bone said.

Developer Bill Freeman predictably discussed his plans for building 10,000 affordable housing units over his four year term. This is a cornerstone of his campaign. Freeman favors involving the private sector and reaching out to developers across the country for affordable housing ideas. He also noted that expanding the budget for Metro schools will allow for more arts programming.

Linda Eskind Rebrovick touted her work in the technology sector as a natural bridge to the arts. She’s interested in co-housing plans that will encourage collaboration and networking amongst artists and musicians. She also wants to look into involving the city’s community centers in more arts programming.

David Fox is hesitant to promise funding without knowing where it will come from but agrees that it has to be stepped up. Barry mentioned putting more sales tax toward the arts and Kane wants to look into crowdsourcing, but no substantial plans for dedicated funding came up. David Fox also favors focusing on more incubator programs like Casa Azafran and Periscope to heed longterm results for artists and the public alike. He left early for another engagement.

If you’re interested in a rough transcript of the forum (mostly direct quotes, some in note form), let me know. 

LOCATE Arts Raises the Bar in Tennessee

images (1)Last night at Zeitgeist, two Tennessee natives introduced an arts organization that could have great value to the state of Tennessee. Carri and Brian Jobe are launching LOCATE Arts, a state-wide initiative that will connect the arts communities in Nashville, Chattanooga, Knoxville, and Memphis. It will be headed by a board of arts administrators from around the state, including our own indomitable Lain York.

LOCATE Arts will take two main actions:

First, it will launch an exhibition listing site that will centralize a selection of arts events in the four cities. The website will provide a unified face of Tennessee that will integrate artists, galleries, and museums state-wide. The website will be curated: art must be contemporary and high caliber, but this doesn’t rule out experimental arts events and exhibitions. It does probably rule out portraits of Willie Nelson and Johnny Cash (one would hope.) The site is modeled after Glass Tire, a website that does this in Texas. While Glass Tire also publishes art reviews, LOCATE Arts probably will not, but for good reason: Jobe and Jobe want to keep the site neutral and be primarily informative. If it’s done well, it will probably have a ripple effect, resulting in a robust arts dialogue that is heard in every corner of Tennessee! But seriously, in the longterm, this may encourage the foundation of new arts venues, attract artists and art students, and help art commerce to thrive. Jobe and Jobe hope to roll this out this summer.

Second, LOCATE Arts will put on a Tennessee Biennial that will work toward strengthening the state’s arts identity. This exhibition will feature Tennessee and national artists and work will be selected by an outside curator. Brian Jobe says it will spotlight positive, strong efforts across the state, providing a foundation for artists and the public to mutually support one another. The Biennial will happen in Nashville and travel to the other three cities; it is tentatively planned for Fall 2016.

Someone might have dubbed Nashville the second most vibrant arts city (still cloudy on who did and why), but these opportunities will show this vibrancy. I feel like people often conflate The Arts to include all types of art. So, when Nashville boasts of its “arts vibrancy,” it’s really saying, “We have a lot of music so you should come here.” I think it’s important to maintain that visual art is a separate category that has very different needs in order for it to be sustainable. Meanwhile, there’s also a lot of mediocre visual art in Nashville, and I think this could really raise the bar and challenge artists, curators, and writers to grow.

We’re always talking about “supporting the arts,” but sometimes that just means liking a photo on Facebook. I know that there’s a big push back about people moving to Nashville right now, but our artists cannot work if they cannot make a living, and incorporating the rest of the world into our space could go a long way in helping them do that. Also, I love the idea of being aware of what’s happening in the rest of the state. I hear murmurings, but they’re few. Imagine loading up a car with other art lovers and barreling to Memphis for a weekend of gallery hopping and studio visits? Rad.

LOCATE Arts is in its fundraising phase. They have applied for 501c3 status. Until then, they are fiscally sponsored by Fractured Atlas. They estimate that their first year will cost $340,000. Go to their website and check them out, and shoot them an email if you want to hear more at Both Carri and Brian Jobe are experienced arts administrators, and they’ve been researching initiatives such as these all over the country for years. If you can spare it, consider donating to this cause, and spread the word among your people. (i.e. This is a really good thing to share on Facebook.)

The Visualist Brings You More Ways to Find Art


It’s easy to lose one’s way in the sea of information, ads, emails, and invites on the Wild Wild Web. Since I’ve missed events for this reason, I tend to pare down to a precious few email notifications. One worth keeping is The Visualist, a website and subscription service that brings me a weekly list of arts events in and around Nashville. Hosted by sometime-NYCnash contributor Andri Alexandrou and Amelie Brown, the Visualist aims to “speak for the hidden happenings– the events without a magazine hookup, the unexposed arts with no blog shoutout, the art folks in need of a megaphone.”

The Visualist won’t advertise for music (thank god), comedy, traditional theater, dance, or well-known and publicized arts events. In short, it won’t list the events you are reading about in the Tennessean and maybe even the Scene. Although they both contribute tons, there’s a whole lot happening in Nashville that two publications can’t possibly cover. I think that given enough support, the Visualist can really amp up public participation in the arts here (beyond, I don’t know, looking at murals and posting in a Facebook group.) To continue some thoughts I posted last week about the art scenes in Nashville, I am thinking more and more that if we can improve local support of the art scenes, we can harness that energy to sustain a space for artists who have made Nashville great, even as their studios are being bought up.

So sign up and keep the good vibes going.

Also, if you are putting on an arts event and would like to be included in the newsletter, you can email the Visualist at with a short blurb about your project. For some of us, it can be tough to self-advertise. Let the Visualist help you out, and tell your friends.

An Advice Column You Need to Follow

fire-burning-question-ts-psHave you been reading Sara Estes’ advice column “Burning Questions” on BURNAWAY? What? You haven’t?

You’re in luck because you can start today. BURNAWAY takes questions from readers and turns to Nashville’s own witty, wise Sara Estes. Her column is not only informational and fun to read, but today it was downright inspiring with advice for any artist or writer who has experienced a rut and blamed everyone else. She writes:

“Nobody has ever done anything good with that kind of thinking. I once knew an old Russian artist who told me that during World War II, when paper became extremely difficult to come by, he’d cut off the margins of newspapers and glue them together to make his drawing paper. Now that, my sweetness, is hard up. You can make art, but you’ve got to get some perspective.”

She’s not without compassion, but she isn’t afraid to dish the hard truths. Past columns have addressed getting gallery representation and hanging art with binder clips (a serious no-no). It’s a great opportunity to ask your own questions about navigating the art worlds or your own practice.

You’ll find Sara Estes at David Lusk Gallery where she’s always willing to provide friendly, thoughtful conversation on current exhibitions. (She’s helped me find my way through quite a few!) She’s also the co-founder and curator of Threesquared, where she’s brought some of my favorite Nashville exhibitions last year. Estes was formerly the gallery director at Fisk University and is apprentice to renowned paintings conservator Cynthia Stow.

Art in the Park Continues

Last week we told you about Yoga for Truckers (+Everyone). At 2:30-3:30 pm, Tuesday, Nov. 4th, you can join Nicole Cormaci and Amanda Wentworth to practice yoga in the treasury room of the Parthenon.  All yoga will be conducted in chairs as part of Cormaci’s FLEX IT! goal to design a series of yoga moves for truckers and other sedentary workers. Cormaci’s Yoga for Truckers and other Sedentary Workers participatory work will result in a podcast.

We also told you about a game of Capture the Flag that went down at the Parthenon in October. Don’t miss the next events: 2-3 pm, Saturday, Nov. 8th and 22nd, MeetUp with Adrienne Outlaw for introductory zumba and capoeira classes in Centennial Park. The classes will be taught by instructors with the  Global Education Center. Weather permitting, they will be held in the park on the south lawn. Should they be held in the Parthenon museum admission applies.

Here I am guarding the jail during MeetUp's Capture the Flag. Photo  courtesy of Adrienne Outlaw.

Here I am guarding the jail during MeetUp’s Capture the Flag. Photo courtesy of Adrienne Outlaw.

The classes are part of Outlaw’s MeetUp project for FLEX IT! MeetUp events, designed to encourage acts of health and harmony, have included a potluck picnic, mud making and Capture the Flag. Future events include bread making and massage, portions of which are being shown as part of Outlaw’s evolving video installation in the museum.

Katy Grannan Opens Sherrick and Paul

Sherrick and Paul opens one week from today in Houston Station, the same building abrasiveMedia and Impact Hub call home. Among the ten painters and photographers featured in Susan Sherrick’s first exhibition is Katy Grannan, whose intimate portraits of strangers reveal the scant possibilities they find in life. The artist’s first feature-length film The Nine debuts this spring. From her website:

The Nine, Grannan’s first feature length film (release date Spring 2015) is an intimate portrait of a peripheral and charismatic community in the Central Valley that struggles to find meaning and moments of grace in a hostile environment.  Katy Grannan and Hannah Hughes spent three years on South Ninth Street (locally known as “The Nine”). The filmmakers’ lives intertwine with those of the original subjects of the film, resulting in a tender but conflicted look at the nature of the street and of the artists’ evolving and complex relationship to their subject.

The subject matter is tricky. Often, when artists make poor people the subjects of their work, it’s clear that they’re interested in the people aesthetically only, perhaps trying to “capture” something about the Other. A cover story in the Scene this year invited more than a few critical comments about Elise Tyler’s iPhone photographs of her neighbors in the Nations. There is something revealing in Grannan’s work that is goes beyond Tyler’s. It seems that her subjects relate to each other, not to her. It will be interesting to see Grannan’s work in the same show as Vivian Maier’s, whose dare-I-say-iconic street photos seem to pivot on anonymity rather than intimacy.

<p><a href=”″>The Nine (Trailer)</a> from <a href=””>Fraenkel Gallery</a> on <a href=””>Vimeo</a&gt;.</p>

Art of Expats Totally At Home in Nashville

The Expatriate Archive, Mohesein Gallery, Nashville.

The Expatriate Archive, Mohesein Gallery, Nashville. Ancestral Fish by Jairo Prado.

From the complex, structural gymnastics of Julio Cortazar to the stark, poetic realism of Robert Bolano, the sheer range of Latin American literature has always left me feeling like I’ve only scraped the surface.  This is just how I felt leaving The Expatriate Archive, a show featuring seven artists at Mohsenin Gallery through November 21. Sara Lee Burd makes her curatorial debut with a show so comprehensive, it’s hard to believe it’s her first time. Burd focused on artists living in Nashville who hail from Central and South America, a cast with which she’s familiar. The Nashville Art‘s executive-editor wrote her master’s thesis on Latin American art, even though Vanderbilt didn’t even offer a survey course. Born in Columbia and raised in Georgia, Burd knows what it’s like to call more than one place home.

The title Expatriate Archive lends itself to many contexts, one for me being the Latin American writers I revere who went to  Paris and Barcelona to write, although they were still obsessed with home. You see that in the work of these artists, such as in Liliana Velez’s Palenqueras that seethe with warmth. Palenqueras are women who don fruit baskets on their heads, specific to a village called Palenque de San Basilio, southeast of Cartegena in northern Columbia. The people of this village are Afro-Columbian, descendants of slaves bought by the Spanish, and they have continued to cultivate their African heritage over the past four centuries. In her artist statement, Velez writes, “I grew up in a Catholic context in Colombia, surrounded by danger and violence; feelings, thoughts, fears and mistakes were expected to be secret.” In contrast, the three Palenqueras on view show a refreshing openness, inviting viewers to share in their bounty. I learned from Burd that Velez is a completely self-taught painter, which adds to the wonder of her work.

Liliana Velez. Palenquera 4. Gold leaf and oil on canvas.

Liliana Velez. Palenquera 4. Gold leaf and oil on canvas.

Liliana Velez. Palenqueras. Gold leaf and oil on canvas . On view at Mohsenin Gallery, Nashville.

Liliana Velez. Palenqueras. Gold leaf and oil on canvas . On view at Mohsenin Gallery, Nashville.

As someone who benefits from a lot of context, I always appreciate seeing several works by an artist, and have trouble connecting with one or two alone. Burd’s decision to show many works by Nashville favorite Jorge Mendoza jived well for me, connecting his abstract paintings with his Quipus works on handmade paper. Mendoza’s work alights something old and dear in the imagination. It’s like going back to a very familiar but nearly forgotten story.

Work by Jorge Mendoza at Mohsenin Gallery, Nashville.

Work by Jorge Mendoza at Mohsenin Gallery, Nashville.

Prints by Jorge Mendoza, Ancestral Fish by Jairo Prado. At Mohsenin Gallery, Nashville.

Prints by Jorge Mendoza, Ancestral Fish by Jairo Prado. At Mohsenin Gallery, Nashville.


By Jorge Mendoza. At Mohsenin Gallery, Nashville.

Much like a Garcia Marquez novel, Jorge Yances‘ work seemed the natural favorite. At the opening, the crowd lingered at his paintings of 16th and 17th century buildings, or rather, of their walls. Yances is the Expat artist who seems most steeped in literary tradition. He’s a self-described magical realist, and gallery-goers picked up on this, inspecting his wall paintings for emerging faces and shapes. They found many, and although the forms take on a life of their own, they’re almost magically contained in Yances’ canvases, breathing on the gallery walls.

Jorges Yances, on view at Mohsenin Gallery, Nashville.

Jorge Yances. On view at Mohsenin Gallery, Nashville.

Jorge Yances. On view at Mohsenin Gallery, Nashville.

Jorge Yances. On view at Mohsenin Gallery, Nashville.

Being a bit more interested in the subversive, I admired Clorinda Chávez Galdós Bell‘s meticulous religious paintings because she is exceptionally skilled, but they didn’t excite me conceptually. Photographer Juan Pont Lezica is on to something with his works that recast famous masterworks with models and actors. While the effects are surreal, I kept returning to them, aching for one to subvert the masters a bit more subversively. Nonetheless, in his frame, the timeless meets the timely, which is always interesting. Jairo Prado‘s Ancestral Fish is constructed from wood, showing his artisan sensibilities. Yuri Figueroa‘s One Line Drawings and paintings are the tip of the iceberg for this artist. His work that includes revolvers, skulls, and daisies is worthy of further investigation.


Juan Pont Lezica. On view at Mohsesin Gallery, Nashville.

Yuri Figueroa's One Line Drawings. On view at Mohsenin Gallery, Nashville.

Yuri Figueroa’s One Line Drawings. On view at Mohsenin Gallery, Nashville.

Of the many things this show accomplishes, Expatriate Archive shows us that there is no single Latin American artistic aesthetic, just as there is no single Latin American novel. But these seven are living and working in Nashville, and I’d be fascinated to know what brought them here and how their work is dually informed by their cultural history and their Music City present. Before you pull out your worn copy of Love in the Time of Cholera, stop by Mohsenin Gallery and take a look. You’ll leave wanting to chart new territory.

Yoga for Truckers (+Everyone) at the Parthenon

FLEX_Cormaci1We don’t think about it much, but the goods we use have been transported great distances by machines operated by people — the screen that meets your focus, the coffee in your cup, the gasoline in your car. When performance artist Nicole Cormaci found herself traveling from British Columbia to Indiana regularly, she became empathetic to the physical effects of the long haul, spurring her social practice work Yoga for Truckers (+Everyone).

The work debuted in September at the Parthenon Museum as part of FLEX IT! My Body My Temple, an evolving social practice work curated by Adrienne Outlaw that addresses all matters of personal upkeep: physical, emotional, and spiritual, and invites participants to consider the social ramifications when we take personal responsibility. Cormaci’s piece offers a new element to the mix, applying the ancient, specific knowledge of yoga practitioners to the sedentary practice of operating trains, planes, and automobiles. It’s not just for transportation folks though. In our screen-based world, many of us find ourselves sitting for long stretches, only to find our bodies cramped and knees aching long after we unwind. For truckers, the damage is lasting: hip, back, and knee issues can permanently damage posture, making mobility difficult and painful. Yoga for Truckers investigates whether yoga can correct some of the damage that’s been done.

When the work debuted in September, local yoga instructor Amanda Wentworth led trucker Lonnie Keller in a sequence of yoga poses that can be practiced while driving. They’ll continue that work this week — in the cab of a tractor trailer in Centennial Park. Wentworth will lead a free community yoga class that builds on these sequences on Tuesday, Nov. 4, 1:30-2:30.

Much of Cormaci’s work is site specific, and Centennial Park is an interesting place for a work that revolves around transportation, considering that it was largely financed by railroad companies in celebration the 100 year anniversary of Tennessee’s ratification into the Union. The train is the predecessor of the trucking industry, and Cormaci’s work as whole asks us to consider the people who move things across the country, while we reflect on our own postures as we move through the world.