Falk's 3-volume opus, Who Was Who in American Art, was awarded best art reference book in North America.

About the Art Advisory Board

The Art Advisory Board is comprised of individuals with deep experience in the art world. This team of twelve members (and growing) has been gathered together by Peter Hastings Falk, our Chief Curator & Editor. Not all of our board members are listed here. Some cherish their privacy. They include museum curators, art critics, art dealers, art historians, art professors, collectors, and artists. Each member of this team has been known to and respected in the art world for many years.  And each has over the course of many years proven sensitive to recognizing the highest accomplishments of visual expression. Each is well versed in the movements and “isms” that define art history — especially the formalist and conceptualist precepts of the twentieth century. Each is highly attuned to composition, color, style, and technique. Equally important, each is perceptive when it comes to reading meaning, content, and conceptual intent.  Each is passionate about art and balances their aesthetic preferences with their intellectual backgrounds. Together, they form a trusted sounding board, providing valuable feedback.

In short, our mission is to recognize quality of vision and an ability to express that vision consistently with skill and integrity. Our team is scattered about the country and all are proactive in identifying great candidates and making recommendations. Some are identified below while others have requested we respect their privacy. In most cases our board members make the initial contact with artist estates and late career artists, encouraging them to apply directly to us via email with résumé and images.

Peter Falk with Leo Jensen in 2014, in the artist's studio, discussing a collage study for a sculpture.

PETER HASTINGS FALK,  Chief Curator & Editor

Since the 1980s, Peter has earned the reputation as a leader in art reference publishing and as one of the country’s leading experts on American art. He is best known as the author of the biographical dictionary, Who Was Who in American Art. Lauded by critics as “the most significant research tool ever published in the field,” the massive 3-volume opus won the Wittenborn Award for the best art reference book published in North America, given by the Art Libraries Society.  It also won the American Library Association’s “Outstanding Academic Title.”

His publications also include a series of important reference books on American art, such as the Exhibition Record Series, which William Gerdts, dean of American art historians, calls “the most important basis for art historical research in late 19th to mid 20th century American art.” Four other continuing series include monographs on American artists, catalogues raisonnés, conservation and art forensics.

Peter is also a pioneer in the publishing of auction indices tracking the art market. In 1981 he published the first index to photographs sold at auction, entitled The Photographic Art Market.  In 1991 he expanded that scope to create the largest index to fine prints sold at auction, entitled the Print Price Index.  And in 1993 he expanded further by documenting all fine art mediums sold at auction in his “blue book” for the market, Art Price Index International. During this process he established new editorial conventions for documenting information in art auction catalogues, which remain the standard today. Accordingly, during the 1990s he served as the Editor-in-Chief of the three major online art information companies, developing their databanks of auction price records and artist biographies. These include (founding Editor-in-Chief),, and (Lyon, France). In 2000, Artprice acquired his company, Sound View Press, and he has remained their Consulting Editor. During the early 2000s, his monthly feature, “Market Watch,” ran in Art + Auction magazine.


Peter Falk interviewing William Kent in 2010

Even with these publishing milestones, Peter’s first love has been a niche on which he focused in 1976: the discovery and management of artist estate collections and the collections of late career artists. Rediscovered Masters was created, as per its mission statement, to expand the reach of this highly specialized service. The objective is to illuminate and reinforce the contributions of those artists whose visual expressions he sees as compelling contributions to the scope of art history. His whole approach is built upon a scholarly foundation, which is why his past “rediscovery” exhibitions have been held in many museums and leading galleries around the United States.

Peter is also well known as an appraiser for insurance claims, estate taxes, charitable donations, and equitable distribution. He has provided expert testimony on a number of high-profile litigation cases involving the value of artworks that have ranged from the Old Masters to the Impressionists, from the early Modernists to important Contemporaries. He has been a key appraiser for cases regarding the repatriation of Nazi-looted art. In 1994 he served as an expert witness in helping to ultimately win what the media referred to as the “Warhol War” — the highly publicized trial over the worth of the extensive collection of art produced by Andy Warhol.

In addition to appraising, Peter has advised corporate and private collectors — and charitable trusts and foundations — in developing best-practice programs for both collection-building and deaccessioning. Among the issues addressed are tax-efficient distributions to heirs and the creation of philanthropic opportunities with maximum impact.  Integral to this process he works closely  with leading attorneys in art law as well as with accounting experts to establish foundations or trusts for artists in order to arrive at the most effective solutions for issues such as the reduction of federal tax liabilities, tax-preferred cash flow, optimization of intergenerational wealth, and philanthropic gifting of the art.

Peter is listed in Who’s Who in America and has lectured throughout the United States and Europe for various organizations. He is a member of the American Association of Museums (AAM), the National Association for Museum Exhibition (NAME), the Association of Historians of American Art (AHAA), the Catalogue Raisonné Scholars Association (CRSA), the Art Libraries Society of North America (ARLIS), the Association of Historians of Nineteenth-Century Art (AHNCA), the Association of Art Editors (AAE), the Association of Online Appraisers (AOA), and others. He earned his undergraduate degree in art and art history from Brown University in 1973 and completed his graduate work (architecture) at the Rhode Island School of Design in 1976.


PETER SELZ, Senior Advisor

“Identifying excellent artists who have not as yet received the full recognition they deserve — coupled with the process of creating serious attention for them — is important work. I am pleased to be working with Peter Hastings Falk on the Rediscovered Masters project.”

— Peter Selz

Peter Selz is Professor Emeritus of Art History, University of California, Berkeley. He was one of the first art historians to examine German Expressionism as a political phenomenon rather than from a formalist perspective.  The story of his career as a pioneering scholar and curator can be found in his Beyond the Mainstream: Fifty years of Curating Modern and Contemporary Art [New York: Cambridge University Press, 1997] and in Paul Karlstrom’s Peter Selz: Sketches of a Life [Berkeley: University of California Press, 2012].

As Chief Curator of Painting and Sculpture Exhibitions at the Museum of Modern Art during the 1950s-60s his exhibitions included a number of important retrospectives, including retrospectives for Mark Rothko in 1960, Jean Dubuffet in 1962, Max Beckmann 1964, Alberto Giacometti in 1965, and the first Rodin retrospective in the United States. He then became the Founding Director of the Berkeley Art Museum at the University of California.  

For more than sixty years he has helped artists at critical moments in their careers, including Jean Tinguely, Leon Golub, Bruce Conner, Nathan Oliveira, George Rickey, Fletcher Benton, Eduardo Paolozzi, Friedensreich Hundertwasser, and many others. He is most recently curating exhibitions by William T. Wiley, Enrique Chagoya, and Yisrael Feldsott. Since 1993 he has served on the acquisitions committee of the Museums of Fine Arts, San Francisco. 



Robert C. Morgan is an internationally renowned art critic, curator, artist, writer, art historian, poet, and lecturer. He holds an MFA in Sculpture from the University of Massachusetts, Amherst (1975), and a Ph.D. in contemporary art history from the School of Education, New York University (1978).  Dr. Morgan lives in New York, where he lectures at the School of Visual Arts and is Adjunct Professor in the graduate fine arts department at Pratt Institute in Brooklyn. He is Professor Emeritus in Art History from the Rochester Institute of Technology. 

Robert Morgan is the author of more than 2,500 essays and reviews, and is contributing editor to Sculpture Magazine, Asian Art News, The Brooklyn Rail, and New York correspondent for Art Press (Paris).  His books include Conceptual Art: An American Perspective (McFarland, 1994), Art into Ideas (Cambridge University Press, 1996), Between Modernism and Conceptual Art (McFarland, 1997), The End of the Art World (Allworth, 1998), Gary Hill (Johns Hopkins, 2000), Bruce Nauman (Johns Hopkins, 2002), Clement Greenberg: Late Writings (University of Minnesota, 2003), Vasarely (Braziller, 2004), and The Artist and Globalization (Lodz, 2008). His writings are translated into 18 languages, including Mandarin, Korean, Japanese, Indonesian, Serbian, Hebrew, Farsi, and Finnish.

Since 1979, Dr. Morgan has curated over 70 exhibitions in the various museums, cultural spaces, and galleries in the United States and abroad.  In New York, Dr. Morgan curated “Logo Non Logo” (with Pierre Restany, Thread Waxing Space, 1994), “The Sign of Paradise” for Mike Weiss Gallery  (2005), “Neutral” (2005) for the Lab Gallery, “Silent Exile” for 2 X 13 Gallery (2006), "The Optical Edge" for Pratt Manhattan Gallery (2007), and “Hong-wen Lin” for the Taipei Cultural Center (2009). 

Robert Morgan was the first recipient of the Arcale awarded in international art criticism in Salamanca, Spain (1999) and the first Critic-in-Residence at the Art Omi International Artists Workshop (1992) in Ghent, New York.  He had been a recipient of the National Endowment for the Humanities (1980, 1986, 1987), a Rockefeller/NEA grant (1988), and a Francis Greenburger Fellowship (1993).  In 2005, he was awarded an Edward Albee Fellowship and a Fulbright Fellowship as a senior scholar to research “The Traditional Arts and the Korean Avant-garde” in the Republic of Korea. In 2008, he received a research grant from the Emily Harvey Foundation in Venice, Italy. He has been invited to lecture at several Biennials and Art Fairs, including Gwangju (2000, 2004), Shanghai (2002), Lodz (2004, 2006), Asian Conemporary Art Fair (2006, 2008), Tehran Sculpture Biennial, the Islamic Republic of Iran (2007), Singapore Art Fair (2008), and Istanbul Biennial (2009). He was inducted into the European Academy of Sciences and Arts in Salzburg in 2011.

As an artist, he has shown in many solo and group exhibitions.  They include the ICA, Boston (1972), The Whitney Museum of American Art (1976), Franklin Furnace, NYC (1976),  Artists Space, NYC (1976, 1977), McKissick Museum, University of South Carolina (1980), White Columns (1983), Printed Matter (1984), Cologne Art Fair (1990), Antoine Candau, Paris (1990), Eric Stark Gallery (1992), Construction in Process, Lodz (1993), Nine Gallery, Gwangju (2006), Gaya-Fusion. Ubud, (Republic of Indonesia (2006), Amelia Wallace Gallery, SUNY Old Westbury (2007), Wooster Art Space (2007), Bjorn Ressle, NYC (2009),  Sideshow, Brooklyn (2009), and The Lab Gallery, NYC (2009).  His work has been reviewed by Art in America, The New York Times, Arforum, Art News, The Brooklyn Rail,, ArtNet, and Wolgan Misool (Korea). His works are included in several public and private collections.



Saul Ostrow is an independent critic, curator, Art Editor at Lodge for Bomb Magazine and the former Chair of Visual Arts and Technologies at The Cleveland Institute of Art [2002-2012]. In 2011 he founded Critical Practices Inc., an organization established to promote discourse and collaborative practices.  Its principle programs are: 21StPROJECTS, which sponsors viewings in a domestic setting of artists’ works; LaTableRonde, which organizes roundtable discussions on cultural issues; and, LEF(t) a broadsheet publication.

Previously, Ostrow served as Co-Editor of Lusitania Press [1996-2004] and as the Editor of the book series Critical Voices in Art, Theory, and Culture [1996- 2006] published by Routledge, London. As a curator he has organized over 70 exhibition in the U.S. and abroad. His critical writings have appeared internationally in art magazines, journals, catalogues, and books.

Since 2008 he and the artist, Charles Tucker, have collaborated on a project in which they seek to construct a quantifiable “systems-network” by which to analyze the subject and content of artworks.  In 2012, with the artist Lidija Slavkovic he began a series of collaborative projects, titled “An Ambition” that focuses on the structural and psychological issues concerning “how images signify?”

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Robert M. Berry is a gallerist who received his M.A. in Art History and Criticism from Brooklyn College where he focused on post-war American painters, particularly Larry Poons, Jack Whitten, Lynda Benglis, and James Rosenquist.  “Discovering Poons and Whitten were life changing for me and my career,” he says. “These are two artists that received early success but seemed to disappear from art history.  I had the same revelations when learning about Ralph L. Wickiser who was a colleague of Milton Avery, Adolph Gottlieb, and Willem de Kooning.”

“Though I am a Greenbergian formalist at heart, I am a sucker for early conceptualists including Joseph Kosuth and Robert Barry.” Robert understands artists. “Putting one’s soul into a work of art that becomes a commodity is a tough pill to swallow, but an empathic dealer understands this.  What I really mean is that I’m a curator who for financial reasons got stuck in the gallery business in order to get through school and kind of fell in love with the art of the deal.  My heart is in the right place as I love art on a purely emotional level — but I also love the idea of making money doing something I love.”

Robert’s experience as a gallerist since 2006 has included being Director of two New York galleries. At Galerie Richard he focused on emerging and mid-career artists, effectively promoting Ron Gorchov, Bram Bogart, and Takesada Matsutani. Earlier, at Galerie Icosahedron, he focused on young emerging artists. His first curatorial position was at DLC Fine Art, which culminated with a two-man retrospective of works by Joseph Beuys and David Kastner.


Richard J. Boyle is an independent curator and writer — and one of the country’s foremost historians of American Art and culture of the late 19th through early 20th centuries. His institutional career began in the mid 1960s as Director of the Middletown Fine Arts Center (Ohio). He then held long and successful terms as Chief Curator of Painting & Sculpture at the Cincinnati Art Museum, and for ten years was the Director of the Pennsylvania Academy of the Fine Arts. In his next long term he served for nearly twenty years as a Professor of Art History at Temple University’s Tyler School of Art — and for fifteen of those years he taught at the university’s branch in Tokyo, Japan, until 2006.

He is the author of numerous books and articles including the seminal tome, American Impressionism. He is the leading authority on Willard Metcalf and John Twachtman — and for the latter was given the Literary Award by the Athenaeum of Philadelphia.

He is a graduate of Adelphi University, the Art Students League of New York, and Oxford University. He was elected a Benjamin Franklin Fellow of the Royal Society of Arts, London.


Our first champion, William Innes Homer [1929-2012] made the discovery of the long-lost collection of Arthur Pinajian. That collection will always remain featured on our site as a tribute to his singular vision and his passion for bringing the accomplishments of significant artists to light. He was the dean of American art historians, having been professor and chair emeritus of the University of Delaware’s Department of Art History, a program he made one of the country’s most prestigious. An internationally recognized expert in both European and American painting from the mid-nineteenth through the mid-twentieth centuries, Dr. Homer was the author of many critically acclaimed scholarly books and articles, including major books on Georges Seurat, Albert Pinkham Ryder, Alfred Stieglitz, Robert Henri, and Thomas Eakins.





Avner with a painting by Cuatrecasas



During her college years Janna served as Editor of The Yale Literary Magazine (the nation’s oldest literary magazine), and was an Editorial Assistant for The Yale Review. She also wrote for the 2012 Painting and Printmaking Thesis Catalogue for The Yale School of Art. Janna was a double Major in English and Art, was awarded the Doyon Foundation scholarship for Alaskan Native Americans, and was one of few undergraduates elected to the prestigious Elizabethan Club.

As an art critic, her reviews have been published in the Contemporary Art Review of Los Angeles, Artillery magazine, and the Yale Daily News. More of her reviews appear on her blog,

Janna is a figurative oil painter interested in how digital software can inform painting in a way that doesn’t overlook or disavow the history of painting and techniques. Most recently, her works were in the exhibition, “Noise Video Screening,” with House of Collections in Seoul, Korea (2016) and in “The Landscape Changes 30 Times” at the Anahita Art Gallery in Tehran, Iran (2015). Her works have also been included in group shows in Manhattan, Brooklyn, Los Angeles, and New Haven. Collectors of her paintings include the artist & critic Robert Storr and Margaret Spillane, art critic for The Nation.



We are most fortunate to have art collector Andy Blacker as a powerful advocate of the redM mission, serving as our Chief Advisor on the company’s digital and branding strategies. Andy started his career as one of the first employees at Infoseek — and has worked since then to define the digital & business strategy for some of the world’s largest consumer media companies (AOL, Discovery, Hearst). He also participates in early stage ventures, most recently building Bandsintown Group into the world's #1 music property across all mobile, reaching over 120 million music fans a month. This lead to a successful exit/acquisition in late 2014. Andy is also a former board member of the Cinema Advertising Council, and advises/invests in various digital/mobile businesses through his group Blacker Ventures. Andy is the husband of Liz Sarachek-Blacker, EVP of iHeartMedia, and is an active member of various service organizations in Port Washington & Westhampton Beach, New York.

Ronald K. Parker, Ph.D.


Ronald Parker’s unique and accomplished career path in the art world enriches the redM mission. He is a Renaissance man: art dealer, art publisher, artist, writer, thespian, entrepreneur, and a psychologist.  His M.A. and Ph.D. degrees in psychology from Vanderbilt University have served him well during his thirty-five years in the art business.

Ronald has owned or managed thirty galleries all over the world, from Hong Kong to Paris, from New York to Beverly Hills. He is past President of two public art companies that were listed on the NASDAQ exchange. His companies not only owned galleries but actively published fine limited editions, generating more than $700 million in sales. His success demonstrates art marketing at its finest. He provides redM with an insider’s perspective on acquisitions, marketing, distribution, and sales training. Together with his wife, Yvonne, the Parkers continue to collect, curate, publish, and create art. His own Parker People — is a series of elegant and fluidly linear mixed-media works that stylistically pay homage to Matisse and Picasso.



Laura Prete is the point person in control of all fine art arriving and leaving our climate controlled security storage facility, the Rediscovered Masters Center for Art Collection Management. She has many years of experience as a Registrar, which has included the management of artist estate collections ranging in size from 300 to to more than 10,000 artworks.
After receiving her B.A. in Art History from Albertus Magnus College she became Assistant Registrar for the Yale Center for British Art, where for five years she assumed all collection-related tasks such as cataloguing, condition reports, and rights and reproductions; plus, the loaning of artworks to and borrowing of artworks from other institutions. Her contributions have been acknowledged in many of the museum’s important exhibition catalogues. Laura is also a highly skilled professional photographer specializing in children’s portraits.  In addition to our photography, she manages the process for documentation, archival storage, shipping, and research. We are fortunate to have her broad experience, combined with a discerning eye.