In this episode, Marisa interviews visual artist Emma Kathleen Hepburn Ferrer. Growing up in both America and Europe, Emma took ballet and drawing classes. She refined her painting technique at the Florence Academy of Art, and found her creative voice in an MFA program at Central Saint Martins. Now living in Italy, Emma’s surroundings of nature, religion, and hunting culture inspired her first solo exhibition, “The Scapegoat.” Originating from a biblical myth, Emma’s retelling begs the question, “what is the scapegoat of our society?” Like her grandmother, Audrey Hepburn, Emma approaches art as service and works to capture empathy. 

Follow Emma @ekhferrer

Check out her website at https://www.emmaferrer.com

Emma Kathleen Hepburn Ferrer: The Legacy of Empathy

These audio descriptions describe artworks in The Superpower of Looking resources - Art UK's flagship programme to tranform the visual literacy skills of every child: https://artuk.org/learn/the-superpower-of-looking.

Reverie by Peachzz

These audio descriptions describe artworks in The Superpower of Looking resources - Art UK's flagship programme to transform the visual literacy skills of every child: artuk.org/learn/the-superpower-of-looking.

(Cymraeg) On Strike gan David Carpanini, Cyfarthfa Castle Museum and Art Gallery

Holiday clips: Andrea Carlson

Curators Anna Lovatt and Kelly Montana, artist/curator Pablo Helguera

Drawing and video in "Lines of Resolution," Pablo Helguera

As the 63rd New York Film Festival drew to a close last weekend, it was once again time for Film Comment’s Festival Report, our annual live overview of the NYFF that was. FC Editor Clinton Krute was joined by critics Molly Haskell, J. Hoberman, and Beatrice Loayza for a spirited wrap-up analysis of the highlights and lowlights from the NYFF63 lineup. In front of a lively audience, the panel discussed and debated Radu Jude’s Kontinental ’25, Noah Baumbach’s Jay Kelly, Kelly Reichardt’s The Mastermind, Lav Diaz’s Magellan, Mary Bronstein’s If I Had Legs I’d Kick You, Alexandre Koberidze’s Dry Leaf, and many other selections.

NYFF63 Festival Report, with Molly Haskell, J. Hoberman, and Beatrice Loayza

Justin Favela, David-Jeremiah

Paul Thomas Anderson’s One Battle After Another has been the talk of the town since its wide release last month—from critics to filmmakers to audiences, the reception has been nothing short of euphoric. Loosely inspired by Thomas Pynchon’s novel Vineland, the film opens in an unspecified present, detailing the activities of a militant group led by a Black revolutionary (played by Teyana Taylor). Years after her disappearance, her partner (Leonardo DiCaprio) and their daughter (newcomer Chase Infiniti) are hunted down by an old enemy, Sean Penn’s Colonel Steven J. Lockjaw. The chase takes them across California, with an assortment of other characters becoming embroiled along the way. 

The movie is an unabashedly fun, feel-good action flick—one that also calls back to films as disparate as The Searchers, Commando, and Running on Empty. But is it among the greatest of the decade, as some have claimed? Film Comment Editors Clinton Krute and Devika Girish invited critics and programmers Miriam Bale and Adam Piron on the Podcast to discuss the film’s successes and failures, how it fits into PTA’s larger body of work, and its engagement with American history and the present. If there’s one thing the four agreed on, it’s that One Battle After Another is indeed a “very rich text.”

Paul Thomas Anderson’s One Battle After Another, with Miriam Bale and Adam Piron

Barnett Newman

Art is everywhere and with it comes the often unseen and unheard voices who make it happen. Join host, Marisa Dickens, as she interviews all types of artists who share their works, processes, and passions. Every artist leaves a little part of themselves in their work…it’s their ARTifact!

Emma Kathleen Hepburn Ferrer: The Legacy of Empathy

ARTifacts Podcast

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