Debra Bricker Balken, Debating Modernism: Stieglitz, Duchamp, and the New York Avant-Garde (New York, New York: American Federation of Arts, 2003), 61-62, 177, 183, 185.
Debra Bricker Balken, John Storrs: Machine-Age Modernism (Boston, Masschusetts: Boston Athenaeum, 2010).
Wanda M. Corn, The Great American Thing: Modern Art and National Identity, 1915-1935 (Berkeley and Los Angeles, California: University of California Press, 1999), 114, 185.
Noel Frackman, John Storrs (New York, New York: Whitney Museum of American Art, 1986).
Jennifer R. Gross, ed., The Société Anonyme: Modernism for America (New Haven and London: Yale University Press in association with Yale University Art Gallery, 2006), 4, 13, 42n8, 102, 112, 153.
John R. Lane and Susan C. Larsen, eds., Abstract Painting and Sculpture in America 1927-1944 (Pittsburgh: Museum of Art, Carnegie Institute, 1983), 139, 227-28.
Sophie Lévy, ed., A Transatlantic Avant-Garde: American Artists in Paris, 1918-1939 (Giverny, France: Musée d’Art Américain, 2003), 16, 57, 59, 61, 63, 66-68, 86, 245-247.
Beth Venn and Adam D. Weinberg, eds., Frames of Reference: Looking at American Art, 1900-1950 (New York, New York: Whitney Museum of American Art, 1999), 70-71.
Wake Forest Univeristy, American Abstract Art of the 1930s and 1940s: The J. Donald Nichols Collection (New York, New York: Harry N. Abrams, Inc., 1999), p. 98.
The estate of John Storrs is represented by Valerie Carberry Gallery in Chicago.
For more information, please contact the gallery:
Valerie Carberry Gallery
875 N. Michigan Ave. Suite 2510
Chicago, IL 60611
www.valeriecarberry.com
info@valeriecarberry.com