The space that the class is being held in typically limits the type of postures that may be used. In the large Contemporary gallery we are able to do a lot of standing postures. For example, one week I focused on a large beaded curtain by Felix Gonzalez-Torres, Untitled (Water). Since Gonzalez-Torres was interested by interaction, interconnectedness, and the idea of viral art, I had the students line up in two rows facing each other on either side of the curtain and reach their hands through to practice partner yoga while I told them about Gonzalez-Torres life and his work.

In the African collection gallery, which is a much narrower space, we practiced Chakra Yoga (the seven energy centers according to the yogic philosophies). In the class focusing on the Solar Plexus Chakra, we discussed a ceremonial Tobacco Pipe from Cameroon, Grasslands. This object lent itself to the discussion of the chakra perfectly not because smoking involves the lungs, but because smoking can be both mundane or be elevated to the level of ritual, just like the breath can be both a conscious or an unconscious act.

If you are in the area, I would love to have you stop by and join a class in the future!

What has been the most rewarding aspect of creating and teaching these classes has been the response elicited by the students for the art they are learning about. In fact many of my students do further readings after we have discussed a particular artwork and/or artist. They are interested in microclimates, why certain works are under glass, whether frames are original or not, where the artist was trained, and how an art historical argument is created. Although I have participated in many tours over the years, I feel that the powerful meditative aspects of Yoga helps the students to slow down, find their center, be in the present, and to not just look but actually see.