Episode No. 503 features artist Wael Shawky and curator Elaine Yau.

Shawky's work is on view at the Modern Art Museum of Fort Worth in "FOCUS: Wael Shawky" through July 25. The exhibition features a film from Shawky's Cabaret Crusades trilogy, along with new and related drawings and sculpture. The MAMFW presentation was curated by Alison Hearst.

Shawky's research-driven work considers and revises global histories through film, peformance, sculpture and installation. His work has been the subject of exhibitions at the Louvre Abu Dhabi, MOCA, the Hammer Museum, the Castello di Rivoli and Turin, and more.

On the second segment, Berkeley Art Museum curator Elaine Yau discusses "Rosie Lee Tompkins: A Retrospective," which is on view at the museum through July 18. Tompkins was an Arkansas-born, East Bay-based quiltmaker whose work addressed textile traditions, the Bible, and American histories.

Episode No. 501 features curator Davide Gasporotto and conservator Marcia Steele.

Gasporotto, the senior curator of paintings at the J. Paul Getty Museum, recently acquired Artemisia Gentileschi's Lucretia (about 1627) for the museum. It went on view for the first time when the Getty re-opened after its pandemic-related closure.

Gentileschi's Lucretia shows the wife of Roman nobleman Lucius Tarquinius Collatinus. After Lucretia was raped by a son of the king, she stabbed herself to death. Her suicide led to a rebellion that drove the ruling family from Rome and led to the the foundation of the Roman Republic. She was favorite subject of Renaissance and Baroque art.

Marcia Steele led the conservation of Orazio Gentileschi's 1621-22 Danaë at the Cleveland Museum of Art. The conserved picture debuts in "Variations: The Reuse of Models in Paintings by Orazio and Artemisia Gentileschi," which is on view through August 22. Steele just retired as senior conservator at the museum.

Episode No. 501 of The Modern Art Notes Podcast features artists Ekene Ijeoma and Chloë Bass.

Ijeoma is featured in "All Together, Amongst Many: Reflections on Empathy" at the Bemis Center for Contemporary Arts in Omaha. The exhibition, which was curated by Rachel Adams, examines how artists have centered empathy within their work. It is on view through September 19.

Ekene Ijeoma is the director of Poetic Justice at the MIT Media Lab. His work brings together data with aesthetics and social issues across disciplines such as performance and installation. His work has been exhibited at institutions such as Storefront for Art and Architecture, The Kennedy Center, Washington, the Contemporary Art Museum Houston, and the Contemporary Art Museum St. Louis. His A Counting, a series of multimedia linguistic portraits of the United States created by crowdsourced recording, is currently on view in Houston, St. Louis and at the Bemis. Listeners may participate by calling a toll-free number via this link.

Ijeoma's website has extensive detailing of additional projects discussed on the program, including:

• Breathing Pavilion, 2021;
• Heartfelt #2, 2019-present;
• Wage Islands #2, 2019;
• Deconstructed Anthems, 2017-present; and
• The Refugee Project, 2014-present.

The Pulitzer Arts Foundation is showing "Chloë Bass: Wayfinding" through October 31. The exhibition is an installation of sculpture informed by public wayfinding signage of the sort that directs tourists through a city. Chloë Bass created more than 30 signs which she then placed throughout the Pulitzer's outdoor spaces. "Wayfinding" is part of Bass's "Obligation to Others Holds Me In My Place" project.

"Wayfinding" includes a site-specific audio work narrated by both the artist and a group of Saint Louis collaborators. Listeners may access the site-specific audio work by calling via this link or via the SoundCloud file below. See the Pulitzer's exhibition guide.

Bass's often conceptual practice examines daily life and human intimacy. Her work has been exhibited at the Studio Museum in Harlem, New York's Public Art Fund, the Kunsthalle Wilhelmshaven in Germany, and plenty more.

Episode No. 500 features artists Nancy Grossman and Stacy Lynn Waddell.

Grossman is featured in "Nasher Mixtape," a series of micro-exhibitions at the Nasher Sculpture Center in Dallas through September 26; and in "Vibrant: Artists Engage with Color" at the Weatherspoon Art Museum at the University of North Carolina, Greensboro through June 26.

Grossman's leather-wrapped wooden sculptures are among the most iconic works of twentieth-century art, but are far from her only engagements with the figure. Grossman started her career by painting the female figure, went on to collages built from leather and other found material, to dyed-paper collages of the human figure and more. The Tang Museum at Skidmore College presented a retrospective of her work in 2012.

Waddell is included in three ongoing museum exhibitions, including:

• "Graphic Pull: Contemporary Prints from the Collection" at the Nasher Museum of Art at Duke University through June 6. The exhibition is open to to the Duke community only; a thorough virtual tour is available here.
• "Silent Streets: Art in the Time of the Pandemic" at the Mint Museum Uptown in Charlotte. A closing date has not yet been determined; and
• "Taking Space: Contemporary Women Artists and the Politics of Scale" at the Pennsylvania Academy of Fine Arts in Philadelphia through September 5.

Waddell's work examines both real and imagined histories, often with materials and processes that themselves reference the past.