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"title": "Imagine Yourself a Spider, or a Softball Catcher, in Two Wattis Shows",
"headTitle": "Imagine Yourself a Spider, or a Softball Catcher, in Two Wattis Shows | KQED",
"content": "\u003cp>From the street, it looks like the Wattis Institute is under construction. Newspaper pages covering the floor-to-ceiling windows and glass doors block all possible glimpses of the exhibitions inside. Even the night of the opening reception, this visual barrier stopped me in my tracks. \u003c/p>\n\u003cp>\u003ci>Did I get the date wrong?\u003c/i> I checked my planner. \u003ci>Nope.\u003c/i> I pushed open the gallery door with the irrational feeling that I was entering something that was no longer a public exhibition space, but something secret.\u003c/p>\n\u003cp>The two shows currently occupying the Wattis \u003ci>do\u003c/i> usher in states of altered perception, so maybe the barrier feeling, in retrospect, was a premonition. \u003c/p>\n\u003cp>In Diamond Stingily’s \u003ci>\u003ca href=\"https://wattis.org/view?id=647\" rel=\"noopener\" target=\"_blank\">Doing the Best I Can\u003c/a>\u003c/i>, the viewer is placed in the role of a child athlete, surrounded by objects too large (a giant L-shaped shelf of trophies), too bright (a mobile light tower), too numerous (a line of the artist’s rough-hewn Hergott dolls, adapted from an Amish practice) and too intimidating (the expanse of what reads like an athletic mat, covered in hard, protective plastic). \u003c/p>\n\u003cfigure id=\"attachment_13849306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200.jpg\" alt=\"Diamond Stingily, Installation view of 'Doing the Best I Can,' 2019 at the Wattis Institute.\" width=\"1200\" height=\"566\" class=\"size-full wp-image-13849306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-1020x481.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diamond Stingily, Installation view of ‘Doing the Best I Can,’ 2019 at the Wattis Institute. \u003ccite>(Courtesy of the artist; Queer Thoughts, New York; and Ramiken, New York; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the back gallery, Rosha Yaghmai’s \u003ci>\u003ca href=\"https://wattis.org/view?id=652\" rel=\"noopener\" target=\"_blank\">Miraclegrow\u003c/a>\u003c/i> shrinks the viewer even further still—to the size of a house spider traversing the artist’s tiled bathroom floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These shifts in perspective are made possible by the fact that Stingily has newspapered over not just the street-facing windows, but the gallery skylights as well, eliminating all possible reference points to the outside world (and its relative scale). \u003c/p>\n\u003cp>Stingily was a child athlete in a family of athletes, but as she confesses in the exhibition brochure, not a fervently self-directed one. “I never cared too much about winning when I knew it as just a game,” she writes. Her art and words are a meditation on belonging (to a family, a team, an artistic community) and actively participating in that community. “We all want to be a part of something,” she writes.\u003c/p>\n\u003cp>Up close, the show’s trophies (which easily number over 1,000) tell stories of practicality and exclusion. Augmented plates reassign “most valuable player” and “first place” awards with phrases like “It was for the glory,” and “There is no getting out of this mess & this is to remind you.” An even closer look reveals trophies for lacrosse, field hockey, badminton and what could be either diving or gymnastics all read, “We didn’t have this sport where I was at.”\u003c/p>\n\u003cfigure id=\"attachment_13849308\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200.jpg\" alt=\"Rosha Yaghmai, Installation view of 'Miraclegrow,' 2019 at the Wattis Institute.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13849308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rosha Yaghmai, Installation view of ‘Miraclegrow,’ 2019 at the Wattis Institute. \u003ccite>(Courtesy of the artist and Kayne Griffin Corcoran, Los Angeles; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Yaghmai’s spare installation, viewers walk across a celery-green “tiled” floor to inspect a giant twist of encrusted metal pipe (a clever stand-in for a shed hair). A normal-sized bug zapper sits nearby, threatening now that you’re the spider. And through a curved cylinder sticking out of the wall, a looping bit of sound and light transmits a recording of Yaghmai and her brother performing a Persian song about pursuing a new life (the ultimate altered state). \u003c/p>\n\u003cp>Yaghmai’s space—and the abstracted video—is about as legible as you’d expect the human world to be when viewed through eight eyes. And yet we haven’t passed through the Wattis’ newspapered doors and suddenly turned into arachnids. Of course not. Nor have we become young softball catchers—though some of us might once have been. But \u003ci>Doing the Best I Can\u003c/i> and \u003ci>Miraclegro\u003c/i> do offer (adult, human) viewers approximations of wholly different worldviews. And that’s, as curator Leila Grothe writes in Yaghmai’s exhibition brochure, a way of “physically inhabiting \u003ci>the stranger\u003c/i>,” a way of shifting the line between what is and is not strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Doing the Best I Can’ and ‘Miraclegro’ are on view at the Wattis Institute in San Francisco through March 30, 2019. \u003ca href=\"https://wattis.org/index?alt=1\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Diamond Stingily and Rosha Yaghmai's solo shows usher in states of altered perception.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the street, it looks like the Wattis Institute is under construction. Newspaper pages covering the floor-to-ceiling windows and glass doors block all possible glimpses of the exhibitions inside. Even the night of the opening reception, this visual barrier stopped me in my tracks. \u003c/p>\n\u003cp>\u003ci>Did I get the date wrong?\u003c/i> I checked my planner. \u003ci>Nope.\u003c/i> I pushed open the gallery door with the irrational feeling that I was entering something that was no longer a public exhibition space, but something secret.\u003c/p>\n\u003cp>The two shows currently occupying the Wattis \u003ci>do\u003c/i> usher in states of altered perception, so maybe the barrier feeling, in retrospect, was a premonition. \u003c/p>\n\u003cp>In Diamond Stingily’s \u003ci>\u003ca href=\"https://wattis.org/view?id=647\" rel=\"noopener\" target=\"_blank\">Doing the Best I Can\u003c/a>\u003c/i>, the viewer is placed in the role of a child athlete, surrounded by objects too large (a giant L-shaped shelf of trophies), too bright (a mobile light tower), too numerous (a line of the artist’s rough-hewn Hergott dolls, adapted from an Amish practice) and too intimidating (the expanse of what reads like an athletic mat, covered in hard, protective plastic). \u003c/p>\n\u003cfigure id=\"attachment_13849306\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200.jpg\" alt=\"Diamond Stingily, Installation view of 'Doing the Best I Can,' 2019 at the Wattis Institute.\" width=\"1200\" height=\"566\" class=\"size-full wp-image-13849306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-800x377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-768x362.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Stingily_1-19_001_1200-1020x481.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Diamond Stingily, Installation view of ‘Doing the Best I Can,’ 2019 at the Wattis Institute. \u003ccite>(Courtesy of the artist; Queer Thoughts, New York; and Ramiken, New York; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the back gallery, Rosha Yaghmai’s \u003ci>\u003ca href=\"https://wattis.org/view?id=652\" rel=\"noopener\" target=\"_blank\">Miraclegrow\u003c/a>\u003c/i> shrinks the viewer even further still—to the size of a house spider traversing the artist’s tiled bathroom floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These shifts in perspective are made possible by the fact that Stingily has newspapered over not just the street-facing windows, but the gallery skylights as well, eliminating all possible reference points to the outside world (and its relative scale). \u003c/p>\n\u003cp>Stingily was a child athlete in a family of athletes, but as she confesses in the exhibition brochure, not a fervently self-directed one. “I never cared too much about winning when I knew it as just a game,” she writes. Her art and words are a meditation on belonging (to a family, a team, an artistic community) and actively participating in that community. “We all want to be a part of something,” she writes.\u003c/p>\n\u003cp>Up close, the show’s trophies (which easily number over 1,000) tell stories of practicality and exclusion. Augmented plates reassign “most valuable player” and “first place” awards with phrases like “It was for the glory,” and “There is no getting out of this mess & this is to remind you.” An even closer look reveals trophies for lacrosse, field hockey, badminton and what could be either diving or gymnastics all read, “We didn’t have this sport where I was at.”\u003c/p>\n\u003cfigure id=\"attachment_13849308\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200.jpg\" alt=\"Rosha Yaghmai, Installation view of 'Miraclegrow,' 2019 at the Wattis Institute.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13849308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Wattis_Yaghmai_1-19_005_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rosha Yaghmai, Installation view of ‘Miraclegrow,’ 2019 at the Wattis Institute. \u003ccite>(Courtesy of the artist and Kayne Griffin Corcoran, Los Angeles; Photo: Johnna Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Yaghmai’s spare installation, viewers walk across a celery-green “tiled” floor to inspect a giant twist of encrusted metal pipe (a clever stand-in for a shed hair). A normal-sized bug zapper sits nearby, threatening now that you’re the spider. And through a curved cylinder sticking out of the wall, a looping bit of sound and light transmits a recording of Yaghmai and her brother performing a Persian song about pursuing a new life (the ultimate altered state). \u003c/p>\n\u003cp>Yaghmai’s space—and the abstracted video—is about as legible as you’d expect the human world to be when viewed through eight eyes. And yet we haven’t passed through the Wattis’ newspapered doors and suddenly turned into arachnids. Of course not. Nor have we become young softball catchers—though some of us might once have been. But \u003ci>Doing the Best I Can\u003c/i> and \u003ci>Miraclegro\u003c/i> do offer (adult, human) viewers approximations of wholly different worldviews. And that’s, as curator Leila Grothe writes in Yaghmai’s exhibition brochure, a way of “physically inhabiting \u003ci>the stranger\u003c/i>,” a way of shifting the line between what is and is not strange.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Doing the Best I Can’ and ‘Miraclegro’ are on view at the Wattis Institute in San Francisco through March 30, 2019. \u003ca href=\"https://wattis.org/index?alt=1\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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