CURATED by SAUL OSTROW for CPI CURRICULA March 1

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

CURATED BY SAUL OSTROW FOR CPI_CURRICULA March 1 – March 31, 2020 New Works will be added to the exhibition on March 6, 13, 20, 27 Closing Reception: Saturday, March 28, 6 – 8 pm

Performing: to carry out, accomplish, FOR IMMEDIATE RELEASE—PS122 GALLERY IS PLEASED TO or fulfill (an action, task, or function) PRESENT PERFORMING AUTHORSHIP: 31 DAYS IN MARCH, A PROJECT ORGANIZED BY SAUL OSTROW FOR CRITICAL Authorship: the state or fact of PRACTICES INC.’S CURATORIAL PROGRAM CPI_CURRICULA. being the writer of a book, article, New York, New York (February 21, 2020)—Performing document, etc. or the producer of Authorship: 31 Days in March assembles the work of eight a creative work collaborative teams to author works that are either hybrids, syntheses, or amalgams of the sensibilities of the teams’ members. The idea for Collaboration: the action of working this project came from discussions with Ian Cofre, Director of PS122 with someone to produce or create Gallery, and artist Russell Maltz; all three of us are affiliated with something Critical Practices Inc. It was determined that it would be fun to do something a little different— something old school, i.e. ad hoc. So rather than organize an exhibition around a topic—it was determined that CPI would organize a project based on a situation—a set of conditions, terms, and tasks. To this end, it was determined that it might be of interest to consider the gallery primarily as a site of production. This inversion has its roots in Robert Morris’s Continuous Project Altered Daily, which 51 years ago was performed in March 1969 at the Castelli Warehouse. Morris had brought to the site a wide range of industrial materials, as well as a quantity of earth, which he would re-arrange daily. The project raised various questions about the nature of art as a product of variation and repetition. Morris at the end of each day photographed the indeterminate nature of each day’s final form. In the case of Performing Authorship: 31 Days in March, rather than focus on the temporality and variability of the artwork, I thought that what would be most interesting is an exhibition that addressed the terms and conditions of production; in particular the assumed individuality of authorship, as a product of the supposed isolation of the studio. Taking this as my premise, I decided to focus on the notion of collaboration—the action of working with someone to produce or create some entity which would be neither one person’s nor an other’s. Unlike Morris’s project, the resulting work in this case would be unique and specific. The next decision to be made was, who would be the Core Group of artists–and how many should there be? It was a given that these artists had to represent various aesthetics, intellectual and philosophical tendencies and practices, as well as being generationally diverse. Then there was the question of how much instruction were the participants to be given, since they in turn would be inviting collaborators. As such I turned to the guiding principles of all of Critical Practices Inc. (criticalpractices.org) programs: I would draft The Rules of the Game (available on request) for Performing Authorship: 31 Days in March.

For inquiries, please contact: Ian Cofre, Director [email protected] IG: @ps122gallery PS122 Gallery is free and open to the public and inclusive of all people, regardless of race, ethnicity, age, LGBTQIA identity, and class. Conveniently located on the ground floor of the 122 Community Center in the East Village of Manhattan near several public transportation lines, PS122 Gallery provides wheelchair accessibility through the 122CC main entrance, as well as wheelchair accessible water fountains and all-gender restrooms.

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

CPI_Curricula was originally designed to encourage the production of collaborative projects by and facilitating the interactions between individual artists (and groups), as well as critics and other interested parties. After some deliberation, it was decided Performing Authorship: 31 Days in March would consist of 8 collaborative teams. The Core of Russell Maltz, Cris Gianakos, Michael Gitlin, Hannah Bigeleisen, Alicia Grullon, MK Guth, Ivelisse Jiménez, and Bradley Tucker represents 4 generations (1970s-2000s) of artists. Each week, two teams are scheduled to make and install their work. The collaborations need not be produced on site, but the work must be completed and installed in accord with the given schedule. All the projects will be presented the final weekend of the exhibition. Consequently, the two most important rules to come out of this process were: 1.) Each projects’ material parameters and timeframe will be defined by the nature of PS122 Gallery resources and schedule. 2.) Nothing can be done physically to the space that the artist is not prepared to restore to its previous condition (this must be done immediately in that there are only 4 days between scheduled exhibitions). With the intent of further demystifying the creative process by extending the dialog relative to art to public spaces, a PI_LTR On Authorship will be scheduled for the last weekend of the exhibition. All collaborators will be invited to participate with each inviting one additional participant. SCHEDULE 1. Installation March 1-5; Open to the public March 3. Installation March 16-20; Open to the public 6-8 March 20-22 • Team Russell Maltz • Team Alicia Grullon • Team Michael Gitlin • Team MK Guth 2. Installation March 9-13; Open to the public March 4. Installation March 23-27; Open to the public 13-15 March 27-31 • Team Cris Gianakos • Team Ivelisse Jiménez • Team Hannah Bigeleisen • Team Bradley Tucker 5. March 28, 4:30 PM — Critical Practices Inc. Round Table: On Authorship

CPI_Curricula is a project of Critical Practices Inc., which was founded in 2010 and incorporated in 2012. The idea was and has been to support the emergence and development of new practices and discourses within the field of cultural production. By operating outside “normal” institutional and marketplace models, CPI seeks to take objectives and concerns expressed by diverse members of the cultural community and create programming around these. The intent is to build a network and a platform for different points of view that can then help shape critical, theoretical, and artistic practices. For this we developed a variety of roundtables, publications, work groups, informal exhibits and events in a “domestic” setting; CPI produces “The Rules of the Game” that establish the parameters for each endeavor. There is nothing proprietary about these rules, and CPI endeavors to spread such practices throughout its community. PS122 Gallery is a dynamic, cooperatively run not-for-profit, alternative space in the East Village that provides opportunities and support services for emerging and underrecognized artists since 1979. The gallery reopened in January 2019 following a six-year hiatus while the historic City of New York-owned building was renovated and brought up to code, doubling the gallery in size and expanding programming capacity. In its 40th Anniversary season, PS122 Gallery is working from an ethos of #YearZeroinForty, acting as a platform in order to reengage with its surrounding community, identify new communities, and discover how it can address their needs. Under the artistic direction of Gallery Director, Ian Cofre, the 2019-2020 yearlong season is dedicated to multigenerational legacies, deep time, and long-term explorations, processes and thinking. #ps122gallery #ps122 #eastvillage #40thAnniversary #paintingspace #YearZeroinForty

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

ARTIST BIOS

Installation March 1-6; Open to the Public March 6-8 TEAM MALTZ Russell Maltz (b. 1952, Brooklyn, NY) lives and works in New York City and has exhibited work in numerous solo and group exhibitions throughout the United States and internationally, including in Australia, Germany, Austria, France, Italy, Israel, Denmark, Mexico, Switzerland, Japan and New Zealand. His works are in the collection of The Brooklyn Museum, Yale University Art Museum, Fogg Art Museum, Harvard University Art Museum, Kunstraum-Alexander Burkle, Freiburg, Germany, San Jose Museum of Art, San Jose, California, Arkansas Art Center, Little Rock, Arkansas, Saarland Museum, Saarbrucken, Germany, Stiftung fur Konkreter Kunst, Reutlingen, Germany, Wilhelm-Hack Museum, Ludwigshafen , Germany, Gallery of Western Australia, Perth, Australia. A survey exhibition representing 40 years of his work was recently mounted at the Stadtgalerie in Saarbrucken, and at Galerie Michael Sturm in Stuttgart, Germany and ran from May through August 2017. The exhibition was accompanied by a monogram book covering his work from 1976 through 2017 and published by The Stadtgalerie Saarbrucken and printed by Kerber Verlag in Biefeld, Germany. He has been facilitating with Critical Practices Incorporated since its inception and serves on its advisory board. Bat-Ami Rivlin (b. 1991, Israel) is a New York based artist, who graduated in 2019 from Columbia University MFA Program. She has exhibited in such venues as the Jewish Museum, Fredric Snitzer Gallery, Knockdown Center, Times Square Space and others. TEAM GITLIN Michael Gitlin’s family emigrated from South Africa to Israel in 1948. He received his BA in English Literature and Art History from the Hebrew University of Jerusalem (1967). Simultaneously, he studied at the Bezalel Academy of Arts and Design in Jerusalem, graduating also in 1967. Gitlin moved to New York City in 1970 and received an MFA from Pratt Institute (1972). His first museum show was at the Israel Museum in Jerusalem in 1977. That same year, his work was exhibited at the Documenta in Kassel, Germany. Gitlin was represented by the Schmela Gallery in Düsseldorf and works of his were acquired by such institutions as the Stedelijk Museum in Amsterdam and the Gugghenheim Museum in New York. In the 1980s, Gitlin taught sculpture at the Parsons School of Design and Columbia University in New York, the Bezalel Academy of Art in Jerusalem, and the University of California in Davis. He has also had one-person shows at the Israel Museum, Jerusalem (1977); the ICC Antwerp (1980); Exit Art, New York (1985); Kunstraum Munchen (1986); Bonn Kunstverein (1988); Kunsthalle Mannheim (1989); Carnegie Mellon Art Gallery (1989); Museum van Hedendaagse Kunst Antwerpen (1991). "Lee-Tal" is New-York based conceptual pop, multi-disciplinary artist. His academic education includes a dual B.A degree, one in Art History and Cinema, and the second one is in general History. His work is in major collections worldwide and has been exhibited at the Tel Aviv museum of art, CICA Museum Seoul, MASin museum in Mexico, Susquehanna art Museum PA, Sejong National Contemporary Art Museum in Seoul and the Whitney Museum in New York.

Installation March 9-13; Open to the Public March 13-15 TEAM GIANAKOS Cris Gianakos was born in New York City, raised in Crete and grew up in New York. He continues to live and work in both New York and Europe. He attended the School of Visual Arts but states that he is “mostly self-taught.” He had a career as a graphic designer and currently holds the position of professor at the school. Moving freely between installations, sculpture, drawing, painting and printmaking, since the 1960s, Gianakos has been identified with post- Minimalism. As a solution to the problem of organizing forms in space, in the late 1970s, he began to make an ongoing series of large- and small-scale structures known as RAMPWORKS. Gianakos’ large-scale site-specific structures have been installed in the cities of Stockholm, Malmo and Umea, Sweden; Athens and Thessaloniki, Greece; in New York City for the Public Art Fund, as well as Nassau County Museum of Fine Arts and Socrates Sculpture Park. Gianakos is represented in significant public collections, including Museum of Modern Art (New

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

York), Moderna Museet (Stockholm), Fogg Art Museum/Harvard University (Cambridge, MA), MOMus State Museum of Contemporary Art-Costakis Collection and MAM(Greece), Watkita Museum of Art (Tokyo), Max Bill Haus (Zurich, Switzerland) and Brooklyn Museum. Dan Bainbridge (b. 1976, Dubuque, Iowa) lives and works in New York City. He holds a BA from Clarke College and an MFA in Studio Art from Illinois State University. He makes mixed-media objects, assemblages, and collages, and is active as a performance artist; he co-founded collectives Monkey Mop Boy and French Neon (an artist collective, a salon, and nomadic gallery). Since he moved to New York City in 2006, his works have been featured in many group shows, including The Unspeakable A Dark Show at the Pfizer Building in Brooklyn, Casino Cabaret at Safe Gallery, The Librarians at the Queens College Art Center and in Pyramid Scheme curated by Nat Ward in Brooklyn. He has also had two solo shows at Silas Von Morisse Gallery (Brooklyn) and his work has been published in Maake Magazine. TEAM BIGELEISEN Hannah Bigeleisen is an artist and designer living and working in Brooklyn, NY. She holds an MFA from the Rhode Island School of Design in Printmaking, and a BFA in sculpture from the Cleveland Institute of Art. Her practice ranges from the making of sculpture and painting to lighting design and interior work. Influenced by theories of visual perception and the patterns found in architecture, language and everyday structures, her sculptures and lighting designs are based in geometric abstraction, and employ different strategies to manipulate and distort space through irregular units of measure, material combinations, and use of pattern, texture, and color as a metaphor for systems of construction or control that are embedded in both our built and virtual worlds. Her work has been shown nationally, most notably at The Cleveland Museum of Art, Next to Nothing Gallery and various design shows in New York. She debuted her first collection of sculptural lighting objects at Brooklyn Design in 2019. Hannah has also held artist residencies at The Gowanus Studio Space and BEAM Center in Vermont. In 2019, her collaboration with designer Steven Bukowski was nominated for a Surface Magazine Travel Award for their immersive installation, Camouflage. Most recently, she has shown at Collectible Design in Brussels, Belgium, debuting a new line of sculptural lighting objects. Steven Bukowski designs functional and expressive furniture in New York City. His work, which draws heavily on his familial background in fabrication and craft, explores the space between art and design. His rich understanding of form, color, materials, and manufacturing processes lends itself to producing collections that are thoughtfully designed for lifetime use. He founded his Brooklyn-based design practice in 2016. That same year he designed the bar seating for the renowned Flora Bar, located within the Met Breuer building. In 2017, he participated in the annual Sight Unseen OFFSITE exhibition and the recipient of the American Design Hot List Award. His work has been published in Domino Magazine, Architectural Digest, Wallpaper, and W Magazine, to name a few.

Installation March 16-20; Open to the Public 20-22 TEAM GRULLÓN Alicia Grullon is the 2018-2019 Artist-in-Residence at The Hemispheric Institute of Performance and Politics at New York University. She directs her interdisciplinary practice toward critiques of the politics of presence, arguing for the inclusion of disenfranchised communities in political and social spheres. She is co-organizer and co-author of the People’s Cultural Plan, a coalition of artists, cultural workers, and activists responding to New York City’s first ever cultural plan in 2017. Her work has been shown at the Bronx Museum of the Arts, El Museo del Barrio, Columbia University’s Wallach Art Gallery, BRIC Arts, Spring/Break Art Show, and Performa 11, among others. Grullón is also a contributing author to Rhetoric, Social Value and the Arts: But How Does it Work?, edited by Nicola Mann and Charlotte Bonham-Carter (Palgrave Macmillan, London) and Bridging Communities Through Socially Engaged Art edited by Alice Wexler and Vida Sabbaghi (Routledge, New York). Recent activities include the Shandaken Project inaugural artist residency on Governors Island and the Bronx Museum of the Arts AIM Alum program at 80 White Street. A recent recipient of the Colene Brown Art Prize, Grullón is an adjunct professor at The School of Visual Arts and City University of New York (CUNY).

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. She is an Assistant Professor of Art at Queens College, CUNY, where she co- runs Social Practice Queens with Gregory Sholette. Bass began her work with a focus on the individual with The Bureau of Self-Recognition (2011 – 2013) and has recently concluded a study of pairs The Book of Everyday Instruction (2015 – 2017). She will continue to scale up gradually until she is working at the scale of the metropolis. Bass has held numerous fellowships and residencies; 2018’s include a residency at Denniston Hill, the Recess Analog Artist-in-Residence, and a BRIC Media Arts Fellowship. Her projects have appeared nationally and internationally, including recent exhibits at The Studio Museum in Harlem, Kunsthalle Wilhelmshaven, BAK basis voor actuele kunst, the Knockdown Center, the Kitchen, the Brooklyn Museum, CUE Art Foundation, Elizabeth Foundation for the Arts Project Space, The Southeastern Center for Contemporary Art, the James Gallery, and elsewhere. TEAM GUTH MK Guth is a visual artist working in sculpture, performance and interactive projects. Small shifts in what is familiar amplify human presence and speak to the intricacies of social relations in her work. Guth is the Director of the Hallie Ford School of Graduate Studies at the Pacific Northwest College in Portland Oregon. She has exhibited and performed with numerous galleries and institutions in the US and abroad such as, The Contemporary Art Center, Cincinnati, OH, The Whitney Museum of American Art, NYC, Boise Art Museum, The Melbourne International Arts Festival, Australia, Nottdance Festival, Nottingham, England, Swiss Institute, NYC, Gallery-Pfeister, Gudhjem Denmark, Franklin Parrasch Gallery NYC, White Columns, NYC. She has an upcoming performance at the Center For the Art of Performance at UCLA in May and has been the recipient of a Ford Family Foundation Fellowship, Bonnie Bronson Award, a Betty Bowen Special Recognition Award through the Seattle Art Museum and an Award of Merit from the Bellevue Art Museum. Guth is represented by the Elizabeth Leach Gallery, Portland OR and Cristin Tierney, NYC. Linda Hutchins is a visual artist whose work reappraises the meaning and experience of drawing. Recently she has developed custom fingertip tools to facilitate mark-making with both hands and all ten digits. She lives and works in the Bowstring Truss House, a renovated warehouse in Portland, Oregon. Before attending art school, she wrote operating system software for Intel Corporation. Her work has been exhibited at the Portland and Tacoma Art Museums, and she has performed at Portland Institute for Contemporary Art and Performance Works NorthWest. Hutchins has been honored with two Individual Artist Fellowships from the Oregon Arts Commission, the Jurors’ Award in the Tacoma Art Museum’s 2009 Northwest Biennial, and a solo exhibition in Oregon’s Governor’s Office.

Installation March 23-27; Open to the Public 27-31 TEAM TUCKER Bradley Tucker is an artist working and living in North Carolina. His work is derived from conceptual practice and social engagement. He has had numerous shows both nationally and internationally and has received many awards for art competitions the world over. He earned his Bachelor of Fine Arts from the University of North Carolina at Charlotte. He credits most of his success on having studied abroad at the Akademia Stuk Pieknych Eugeniusza Gepperta in Wroclawiu, Poland. Suje Garcia (Charlotte, NC) seeks to find a deep connection through cultural dialog and social exchanges by engaging communities through conversations and art practice. After serving in the military as a Corpsman, he left with a drive to express feelings by recreating his sensations around mortality, grieving, and survival that were experienced, particularly during war. Brian E. Bridgford, Age 64. I was born an artist and have navigated my almost six-and-a-half decades through an artist's lens. Sally Belk Gambrell Bridgford I don’t consider myself to be an artist. I just create things. And while I hate defining myself in general, art is something I aspire to and I’ve only barely started, I’ve discovered I am constantly creating,

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt. all of the time: my mind with my thoughts, my day with my actions and choices, even my very body with food and breath and habits. The difference is whether I am being intentional, unfiltered, present and focused in this creative process or not. TEAM JIMÉNEZ Ivelisse Jiménez (b. 1966, Ciales, PR) After completing a BA in Humanities from the University of Puerto Rico, Rio Piedras, Jiménez moved to New York City where she lived and worked for twenty years. She has an MFA in Studio Arts from New York University. Her work has been presented in more than 30 exhibitions at Museums in the US, Europe, The Americas and PR Galleries, Biennials, Art Fairs and institutions. She has received awards in the US, PR and Europe, including the Joan Mitchell Award for painters and sculptors. Highlights of her work as educator and academic are: New York University, Kent University, Boricua College, University of North Carolina, University of Puerto Rico, Escuela de Artes Plásticas SJ PR, UPR Humacao Campus. Her work investigates abstract considerations in dialogue with the inhabited space through paintings, installations and assemblages. She now lives and works in San Juan, PR. Edwin Torres is a New York City native and the author of ten books of poetry including, XOETEOX: the infinite word object (Wave Books), Ameriscopia (University of Arizona Press), Yes Thing No Thing (Roof Books) and The PoPedology of an Ambient Language (Atelos). He is editor of the inter-genre anthology, The Body In Language: An Anthology (Counterpath Press) and has performed his multi-disciplinary bodylingo poetics worldwide. Fellowships include; NYFA, The Foundation for Contemporary Art, and The DIA Arts Foundation. Anthologies include: American Poets in the 21st Century: The Poetics of Social Engagement, Who Will Speak For America, Post-American Poetry Vol. 2, and Aloud: Voices From The Nuyorican Poets Café.

150 First Avenue Gallery Hours: entrance on 9th street Friday - Sunday New York, NY 10009 12 - 6p + by appt.

Performing Authorship: 31 Days in March is a project organized by Saul Ostrow for Critical Practices Inc.’s curatorial program CPI_ Curricula. This project was developed in accord with PS122 Gallery yearlong series of exhibitions dedicated to multigenerational legacies, long-term explorations and thinking, and deep time. #PerformingAuthorship #31DaysinMarch #CPI #CriticalPractices #SaulOstrow #ps122gallery #ps122 #eastvillage #40thAnniversary #paintingspace #YearZeroinForty Critical Practices Inc. was founded in 2010 and incorporated in 2012 by Saul Ostrow, David Goodman and Edouard Prulehiere. CPI is an all-volunteer, non-profit organization whose projects include curatorial projects, open forums, and a broadsheet publication. The idea was and has been to support the emergence and development of new practices and discourses within the field of cultural production. By operating outside “normal” institutional and marketplace models, CPI seeks to take objectives and concerns expressed by diverse members of the cultural community create programming around these. The intent is to build a network and a platform for different points of view that can then help shape critical, theoretical, and artistic practices. For this we developed a variety of roundtables, publications, work groups, informal exhibits and events in a “domestic” setting, CPI produces “The Rules of the Game”, which establishes the parameters for each endeavor. There is nothing proprietary about these rules, and CPI encourages others to take up similar practices. Saul Ostrow Trained as an artist, since the 1980s, Ostrow has been known primarily as an independent critic and curator. Presently, he is Art Editor-at-Large at Bomb Magazine. He has also served as Co-Editor of Lusitania Press (1996-2004) as well as the Editor of the book series Critical Voices in Art, Theory and Culture (1996- 2006) published by Routledge. His writings have appeared in numerous art magazines, journals, catalogues, and books in the USA and Europe. His most recent publications have included: Off-register the work of Ivelisse Jiménez, San Juan, Puerto Rico (2018); Russell Maltz: An introduction, True, but Not Factual: 40 Years of Work, Pub. Zurich, Switzerland (2017); Gustavo Prado: A Rear View: Recent Works Ventriloquist Press, Rio de Janeiro, Brazil, (2016); Dread Scott: The Art of Bearing Witness a Sharp Divide, Art Gallery, Rowan University; Adam Henry: Acceptance and Deferral, Meessen De Clercq, Brussels, Belgium; Cuban Women Artists, Donald and Shelley Rubin Collection, Lowe Museum, University of Florida, Miami Florida; Boris Lurie: When to Say, No! Museum Janco, Tel Aviv and Gallery. Since 1986, he has curated over 70 exhibitions in the US and abroad including; Here’s Looking at Her: Images of Woman from the ESK Family Foundation Collection, Mana Contemporary Art Center, Jersey City, NJ (2015) The Gravity of Sculpture, Dorsky Projects, NYC (2013) The Lure of Paris: American Abstract Artists in Paris 1950-59 Loretta Howard Gallery, NYC (2009) Modeling the Photographic: The Ends of Photography McDonough Museum, Youngstown, Ohio (2007). His most recent project was Positions Matters at Galerie Richard, NYC and Minus Space, Bklyn (June,2018). Forthcoming exhibitions are: Drawing on Likeness: Ivelisse Jiménez, Gustavo Prada, Lidija Slavkovic at the Hollywood Art Center, Florida (2020) and The Image in The Ground at Loretta Howard Gallery NYC (2020). Ostrow has also been engaged in two collaborative projects. From 2008-12 he worked with the artist, Charles Tucker on theorizing a quantifiable “systems- network” by which to analyze art-works. From 2010-14, he and Miami based artist Lidija Slavkovic, under the name An Ambition, collaborated on a text as well as a series of exhibition and catalog projects focused on drawing. He has an MFA in Studio Practices from the University of Massachusetts and was a practicing artist till 1996. From 2002-12, he was Chair of Visual Arts and Technologies at the Cleveland Institute of Art. Before that, he was the curator at the Center for Visual Arts and Culture, University of Connecticut. He has taught both at the graduate and undergraduate level at School of Visual Arts, Pratt Institute, and New York University, among others. In November 2017, Ostrow founded Art Legacy Planning LLC (ALP), along with art dealer Mary Dinaburg, the art historian Kathy Battista, and the financial planner Bryan Faller. ALP is a consulting and referral service committed to developing strategies for artists’, and collectors’ estates.