Mrs. Jean Schweppe, Lake Forest, IL, 1935;
Monique Storrs Booz, c. 1963;
By descent to Michelle Storrs Booz, 1987;
[Valerie Carberry Gallery, Chicago, IL];
[Owings-Dewey Fine Art, Santa Fe, NM];
Jan T. and Marica Vilcek Collection, New York, NY, 2009;
Chicago. Albert Roullier Galleries. An Exhibition by John Storrs: Sculpture, Painting, and Drawing. February 15-March 1, 1935.
Washington D.C. The Corcoran Gallery. John Storrs Retrospective. May 2-June 2, 1969.
New York. Whitney Museum of American Art. John Storrs, A Retrospective (December 11, 1986-March 22, 1987); Fort Worth. Amon Carter Museum (May 2-July 5, 1987); Louisville. J.B. Speed Art Museum (August 28-November 1, 1987); pp. 110, 111-112, 138, ill. p. 110, pl.134.
Tulsa. Philbrook Museum of Art. From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection (February 8-May 3, 2015); Phoenix. Phoenix Art Museum (June 5-September 6, 2015); Santa Fe. Georgia O’Keeffe Museum (September 25, 2015-January 10, 2016).
Alexander Calder to John Storrs, February 16, 1935. John Henry Bradley Storrs Papers. Correspondence: General Correspondence, 1935-1937. Box 3, Folder 12, Frames 24-28. Archives of American Art, Smithsonian Institution.
Roullier Invoice from 1935 exhibition. John Henry Bradley Storrs Papers. Personal Business Records: Receipts for Artwork Sold, 1914-1938, 1955. Box 7, Folder 38, Frame 18. Archives of American Art, Smithsonian Institution.
Personal Business Records: Index File for Artwork Loans and Sales, circa 1930s. John Henry Bradley Storrs Papers. Box 7, Folder 25, Frames 28-29. Archives of American Art, Smithsonian Institution.
Personal Business Records: Lists of Artworks, 1923-1980. John Henry Bradley Storrs Papers. Box 7, Folder 32, Frames 14-15. Archives of American Art, Smithsonian Institution.
Personal Business Records: Lists of Artworks, 1923-1980. John Henry Bradley Storrs Papers. Box 7, Folder 33, Frame 1. Archives of American Art, Smithsonian Institution.
Hutchinson, Louise. “D.C. Gallery Honors Chicago Artist,” Chicago Tribune, May 11, 1969, section 1A, ill. p. 4.
Fogey, Benjamin. “ART: The Work of John Storrs, Forgotten,” The Sunday Star, Washington D.C., May 18, 1969, ill.
Frackman, Noel S. “The Art of John Storrs,” PhD Dissertation, New York University, 1987, pp. 298-299, 399, pl. 264.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 12, 118-121, 268, ill. p. 119.
Pochoda, Elizabeth. “Freedom and the abstract truth: Jan and Marica Vilcek’s collection of American modernist art,” The Magazine Antiques (May/June 2013), ill. pp. 99, 102, fig. 12.
O’Hern, John. “Modern Manor,” American Fine Art Magazine, September/October 2013, ill. p. 61.
Nari Ward receives the Vilcek Prize in Fine Arts for a body of found-object assemblage artwork that invites both a public discourse and an intimate dialogue with viewers on topics such as race, poverty, immigration, and the Caribbean diaspora identity.
Iman Issa receives the Vilcek Prize for Creative Promise in Fine Arts for exploring, through works of various media, difficult philosophical questions, such as the individual’s relationship to places, figures, and events that are collectively familiar, or the difference between experience and recognition.
Meleko Mokgosi receives the Vilcek Prize for Creative Promise in Fine Arts for paintings that rely on intensive research, reflection, and conversation in order to address widespread misrepresentation of Africa and Africans, and to accurately portray the continent’s complex social and political realities.
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