Carter E. Foster: Steven and Ann Ames Curator of Drawing at the Whitney Museum of American Art

During his 10 year tenure as curator at the Whitney, Carter Foster has become one of the most respected voices in the art world. His groundbreaking research on Edward Hopper’s creative process has significantly changed the way Hopper is seen and categorized. Between his many publications stands his interest for the New York School of abstract expressionism, the trompe l’oeil of Steve Wolfe, and the abstract paintings of Mark Bradford. 

 

David Chalmers: Distinguished Professor of Philosophy and director of the Centre for Consciousness at Australian National University, and Professor of Philosophy and co-director of the Center for Mind, Brain, and Consciousness at New York University. Elected Fellow of the American Academy of Arts and Sciences. 

David Chalmers is one of the foremost thinkers on the quintessentially subjective phenomenon of consciousness. What does it mean to be oneself; how does the world seem to us in our common but unique conscious experience. He has inspired millions with his talks and publications. Now he honors us with his logic and sensibility. 

 

Gabriela Rangel: Director of Visual Arts and Chief Curator at the Americas Society. 

Curator, film maker, art critic and writer, Gabriela Rangel is a consummate expert in the art of the Americas. Her intense activity at the Visual Arts Program and the Americas Society Art Gallery has produced ground breaking exhibitions of artists such as Marta Minujin, Gordon Matta Clark, Paula Trope, Carlos Cruz-Diez, and Juan Downey.  Between her most important publications we find: Juan Downey: Drawings from Las Meninas and the Looking Glass, A Principality of its Own: 40 Years of Visual Arts at the Americas Society (David Rockefeller Center for Latin American Studies, Art Catalogs), and The Painted Photographs of Melvin Charney

 

Misuzu Takemoto: Co-Founder and Director of Caelum Gallery in New York City. Graduated from Tokyo University Art School and studied at L'Ecole Des Beaux- Arts in Paris. 

Misuzu Takemoto is no stranger to the international spectrum of the contemporary art world. For over 20 years, she has been exhibiting, dealing, and curating art between Japan and the United States, with an emphasis on post WWII Japanese art. She co-founded Caelum Gallery in Soho back in 1996, eventually moving to Chelsea in 1998 where she has exhibited talented contemporary artists from around the world, including Shin Miyazaki, Gerd Kanz, and Takayuki Yamada.

 

Rodney Durso: Founder & Board Presiden of ArtBridge, a New York based non-profit organization that installs gallery-style art exhibits on construction fencing and scaffolding in NYC, Upstate New York and more recently, L'Aquila, Italy. Previously Rodney was Principal and Creative Director of
New York-based Stormhouse Partners, an Award-Winning branding and design agency. He has also taught and lectured at Parsons School of Design and worked as a brand consultant. Rodney lives and works in West Chelsea where he has rented a painting studio since 2005, and makes fine art in acrylic, mixed media and collage. 

 

Patrick Seymour: Co-Founder and Creative Director of Tsang Seymour, leading creative agency in the heart of Manhattna's art district. 

In his directive role and for the last twenty years, Patrick Seymour has been using his refined aesthetic eye to develop creative programs that generate brand value and recognition for top notch clients such as the Museum of Modern Art, Gagosian Gallery, the Smithsonian's Cooper-Hewitt National Design Museum, the Jewish Museum,  Miramax Films, the Museum of the City of New York, the Neue Galerie, The New York Times, Sotheby's, the Metropolitan Museum of Art, and the Solomon R. Guggenheim Museum. 

 
 

Juan M. Moro: Distinguish Professor of drawing at University of Cantabria. National Prize of Engraving 2000. 

Juan Moro is an international authority in the skill and techniques of engraving, that he teaches and practices. However, his intellectual activity reaches much farther. As philosopher and aesthete his ample bibliography reaches the history and development of graphic design and illustration, and even an epistemological approximation to the phenomena of aesthetic experience. His latest book is an anthropological inquire on the intrinsic cognitive and physiological underpinnings of art. 

 
 

Extended Consciousness

World-renowned philosopher David Chalmers has developed the inspiring notion of an extended mind in an extended self that surrounds the luminous fundamental core, which is consciousness. The fire that makes anything matter, blazing in a somber physical world. Consciousness has been largely neglected even though we have absolutely nothing without it, and consciousness must reclaim its due place in our minds and culture. 

The artist however doesn’t create from consciousness alone, but much farther into the self and deeper into the world. The creative process goes visibly beyond the skull as technology increasingly takes over functions of the mind. Memories of forms or the sense of shapes, for example, could be scattered and reorganized around in the artist’s studio as handwriting notes, sketches, projections, screenshots, website indexes or any kind of information technologies. These memories would be retrieved and reprocessed just like the ones in the temporal lobe. A myriad of technologies around participate in our decision making, shape our emotions and are in fact part of ourselves. Our wearable computers, cloudy artificial intelligences and infinite software devices are intertwined in our cognitive processes, but even modern cameras or rudimentary instruments like brushes or chisels are extensions of mind and body. 

Art is an experience of the mind in its creation and its reception, mediated by the artwork and its aesthetic qualitative truths. But where does the mind cease to exist and the artwork commence independently? And where does art give way to other aesthetical phenomena before the conscious beholder? 

Modern and contemporary art have wandered by the obscurities of the unconscious for so long, but neglected the fundamental light at the core. Arts of all sorts are called here to join this pivotal time in the examination and discovery of the conscious mind. David Chalmers has explored the extended mind, consciousness, and the place of conscious experiences in an epistemological construction of the world, staying at the forefront of the philosophical and scientific debate of the mind. These territories give inspiration to Art takes Manhattan to curate an exhibition that aims at shedding light on the hard problem of what is that something it is like to be oneself. Art takes Manhattan is resolved to display how art can illustrate the ineffable and contribute to its understanding. What is it like to be oneself, if nothing else than an extended self.

Manuel Rodríguez
Director at Art takes Manhattan