Barron Storey's formal art training was conducted at Art Center in Los Angeles and under Robert Weaver at the School of Visual Arts in New York. His early illustrations in the mid 60's started with mechanical and vehicular subjects but quickly expanded to all subjects for many major magazines. Work in this period earned him a place in Walt Reed's book, 200 Years of American Illustrators.
Subsequent portrait oriented work for Electra and RCA Records led to some of the most highly prized commercial work available 3?4approximately a dozen covers for Time magazine, including the first major illustration of Howard Hughes' later days. This historic work was produced in a half-hour while speaking with the coroner from the Time magazine office. This and other broad exposure along with significant attention from the Society of Illustrators solidified Storey's ascension into the most elite group of American illustrators, joining his peers Bob Peak, Bernie Fuchs and Mark English.
Storey also proved to be one of the finest professors of Illustration, teaching at various times at all of the finest commercial art schools in America. 1976 found Storey moving from New York to Los Angeles to become Chairman of Illustration at his alma mater, Art Center College of Design.
The same year he won the Society of Illustrators' Gold Medal for his portrait of Lotte Lenya. Storey returned to New York in '79 to paint, with top government security clearance, the first major portrayal of the space shuttle for NASA. This huge painting now hangs in Washington's Air and Space Museum and a print of the painting was featured regularly on the set of the popular television show, Northern Exposure. Many gallery shows followed as well as landmark work for National Geographic and Franklin Library. Storey then embarked on the Herculean undertaking of a South American rainforest mural for the American Museum of Natural History.
During the early 80's, Storey continued his teaching at Pratt Institute and Syracuse University. Although the caliber of Storey's work placed him in an elite group with Peak, Fuchs, and English. His personal drive away from 'business as usual' and toward the Avant Garde brought him more into the area of an experimental fine artist. Additionally, a habit of keeping visual journals had opened a personal visual vocabulary different from both illustration and fine art.
By 1984 his versatile talent had led him to San Francisco: performing in concerts with his ensemble, composing music for theater and film, and writing and performing theatrical productions around the world. The late 80's and early 90's found many of Storey's students Kent Williams, George Pratt, John Van Fleet, and his friends Bill Sienkiewicz and Dave McKean, making big names for themselves in the emerging graphic novel field. Recalling how they had been inspired by Storey's journals, some of these associates helped in securing Storey a contract with Tundra publishing. The Tundra published Marat/Sade Journals appeared in 1993 as a limited edition leather bound hardback.
This was the first opportunity many of the artist's fans had to see his personal, non-commercial art and went on to be nominated for a Harvey Award as Best Graphic Album. Since then his students, including Scott McCloud, Dan Clowes, Peter Kuper and Dan Brereton continue to rise
Storey continues to follow his unique muse both in and out of the worlds of fine art, illustration and education. He returns to New York City May 18th, 2001 to accept the Educator of the Year Award from the Society of Illustrators.
? J. David Spurlock, Copyright ? 2003, All Rights Reserved ?
Barron Storey, J. David Spurlock, and Marshall Arisman,
at Society of Illustrators for Storey's 2001 award.
Storey has appeared in Vanguard's first ten issues of EDGETM, Vanguard's W.A.T.C.H. magazine revivals, the EDGETM card set, as well as the 2004 EDGETM TPB.