The papers of painter, writer, and dancer George Deem measure 18.2 linear feet and 10.71 GB and date from 1904-2015, with the bulk of the material dating from 1960-2008. The collection documents Deem's path from Midwestern farm child to New York City artist and teacher who specialized in recreating works of great masters, especially Johannes Vermeer. Correspondence, exhibition files, subject files, project files, writings by and about Deem, printed and digital material and photographic materials all show the trajectory of Deem's development as an artist.
Scope and Contents:
The papers of painter, writer, and dancer George Deem measure 18.2 linear feet and 10.71 GB and date from 1904-2015, with the bulk of the material dating from 1960-2008. The collection documents Deem's path from Midwestern farm child to New York City artist and teacher who specialized in recreating works of great masters, especially Johannes Vermeer. Correspondence, exhibition files, subject files, project files, writings by and about Deem, printed and digital material and photographic materials all show the trajectory of Deem's development as an artist.
Biographical materials include resumes, an address book, appointment books, birth and death certificates, obituaries and memorial tributes, passports, family histories, jury summons, grant applications, military and educational records.
Correspondence is with family, friends, colleagues, curators, and art dealers. Much of the professional correspondence concerns commissions and reproduction permission requests. Among the correspondents are: Benny Andrews, Mieke Bal, Ulla Dydo, John Evans, Simone Fattal, Lee Guilliat, Vitaly Komar, and Dorothea Tanning. Correspondence with Walter Liedtke, Charles Molesworth, Robert Rosenblum, Arthur K. Wheeler, and Patricia William discusses proposed exhibitions and writings by Deem and others about his work.
Writings include some of Deem's classroom lectures, poems, and short pieces that appeared in independent literary arts publications.
Subject files document Deem's dealings with art consultants and galleries regarding placement of his work, participation in benefit auctions, and gifts of his artwork to the New Britain Museum of American Art. There is extensive correspondence with Allan Stone Gallery, Nancy Hoffman Gallery, and Pavel Zoubok Gallery. Deem's participation in mail art exhibitions is documented by exhibition announcements and correspondence. Also found is mail art correspondence from Richard Copy, Ray Johnson, Jean-Noel Lazlo, Antonio Sassu, Sam Wiener and others: some pieces are copies. The bulk of the project files chronicle Deem's artistic output. Information sheets and photographic materials provide provenance and source references for over 500 works. Files also document commissions undertaken by Deem including book projects, and set designs for dance and theater workshops. Exhibition files document solo and group exhibitions in the United States and abroad.
Printed material includes books by Deem, exhibition catalogs, reviews, and reproductions. In addition, there are articles and academic papers about Deem and his work. Photographic materials include photographs, digital prints and transparencies; subjects include Deem, family, friends, travels, studio, exhibition installations, and his artwork.
The addition to the George Deem papers consists of scattered biographical materials, correspondence, project and subject files, printed and digital material, and photographic materials. The bulk consists of writings, including a memoir of his early days in New York. Twenty-three notebooks include notes and drafts of writings about his artwork; activities and meetings with colleagues and friends are also recorded. Among the photographic materials are five photograph albums - four are devoted to George Deem, his family, and friends; the fifth houses photographs of Deem's artwork.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1938-circa 2013 (Boxes 1-2; 1.8 linear feet)
Series 2: Correspondence, 1954-2013 (Boxes 2-6; 4.8 linear feet)
Series 3: Writings, 1978-2012 (Box 6; 0.2 linear feet)
Series 4: Subject Files, circa 1960-circa 2013 (Boxes 6-8; 1 linear feet)
Series 5: Project Files, 1952-circa 2013 (Boxes 8-13, Box 20; 5.0 linear feet, ER01-ER02; 3.60 GB)
Series 6: Exhibition Files, 1960-circa 2013 (Boxes 13-15; 1.4 linear feet)
Series 7: Printed Material, 1966-circa 2013 (Boxes 15-16, OV 21; 1.1 linear feet)
Series 8: Photographic Materials, 1904-circa 2013 (Boxes 16-17, Box 20; 1.1 linear feet)
Series 9: Addition to the George Deem Papers, 1957-2015 (Boxes 17-19; 1.8 linear feet, ER03-ER04; 7.12 GB)
Biographical / Historical:
George Deem (1932-2008), a New York City based painter was best known for his original reinterpretations of the works of master painters. Raised on an Indiana farm, Deem showed an early interest in art and after graduating from Vincennes University in 1952 enrolled at the School of the Art Institute of Chicago. His studies were interrupted by service in the U.S. Army. He completed his program at the Art Institute of Chicago in 1955.
After moving to New York City in 1958, Deem worked in the display department of the Metropolitan Museum of Art while continuing to paint original works after hours. His work was first exhibited at Barnard College, and in 1963 he had his first one man show at the Allan Stone Gallery, which represented him throughout his career. Later he also was affilated with Nancy Hoffman Gallery and Pavel Zoubok Gallery.
Deem travelled abroad, spending considerable time in Italy where he was influenced by classical art and architecture and began painting realistic figural images. He was interested in reinventing and reconstructing the art of the past, borrowing from artists such as Vermeer, Caravaggio, Goya and Millet. Deem produced a series of paintings relating to Vermeer's work, finally writing a book about this endeavor, Art School and How to Paint a Vermeer. Deem also wrote poetry, was involved in set design, and danced at Bennington College and other venues.
Deem's work was acknowledged in the academic world and he served as artist in residence or visiting artist at MacDowell Colony, Illinois State University, and other institutions. His work appeared in museum exhibitions in the United States and abroad, and is included in the permanent collections of museums including the Museum of Fine Arts Boston, New Britain Museum of American Art, and Herbert F. Johnson Museum at Cornell University, as well as in private collections.
George Deem died in 2008 of lung cancer in New York City.
Provenance:
The George Deem papers were donated to the Archives of American Art in 2013 and 2015 by Ronald Vance, executor of the George Deem estate.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The George Deem papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Dancers -- New York (State) -- New York Search this
The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters are from mail artists, often with embellished envelopes and include and a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, mail art shows and events, Ray Johnson's death and memorial tributes to him. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.
Scope and Contents:
The papers of John Evans, 1957-2012, bulk 1970s-2000, measure 7.1 linear feet and 1.00 GB and document the collage artist's involvement with mail art. The vast majority of letters - many with embelllished envelopes - are from mail artists. There is also a digital version of Collected Essays by John Held, Jr. Writings include a thesis about mail art by Marya Trianfellos. Subject files concern art stamps, Ray Johnson's death and subsequent memorial tributes, mail art shows and other events. The most thoroughly documented mail art project, "John Evans Fake Collages," is of unknown origin. In addition, there are a few items relating to projects conceived by Evans, and more substantial documentation of projects initiated by Christina Behmenburg, Leslie Caldera, Ryosuke Cohen, Peter W. Kaufmann, Angela and Peter Netmail.
Evans's mail art correspondents include: Dr. Al Ackerman (Blaster), Anna Banana (Banana Productions), Roy Arenella, Guy Bleus (The Administration Centre 42.292), buZ blurr, Richard C., Leslie Caldera (Creative Thing), Carl T. Chew, Buster Cleveland, Ryosuke Cohen, Chuck Welch (Cracker Jack Kid), Robin Crozier, Jerome D'Angelo, Irene Dogmatic (Dogmmystique/Dogmatique Misticky), Morris David Dorenfeld, Jerry Dreva, Donald Evans, James Evans, Walt Evans, Fa Ga Ga Ga, A. M. Fine, Bill Gaglione (Picasso Gaglione), John Held, Jr., HICO, E. F. Higgins, III, Rudd Janssen, Dianne Jenkins, Ray Johnson, Tod Jorgenssen, Chester Kasnowski, On Kawara, Gene Laughter, Michael Leigh (A.1. Waste Paper Co., Ltd.), David M. Miller, Minoy, Mohammed, Robert Morilla, Art Nahpro (Paul Jackson), Carlo Pittore, E. M. Plunkett, Steve Random, Robert Rocola, Marilyn K. Rosenberg, Andreas Senser, Skooter, Smegma (Scarlatina Lust, Alex Torrid Zone Igloo, Pardon My Myrth, Alexander Josef Hirka), D. C. spaulding, Lon Spiegelman, John Tostada (Tostdada, Oh Boy Mailart!), Pat Tavenner (Mail Queen), Third Story, Benedict J. Tisa, Sonja Van der Burg (Afzed), Whitson (Peter Whitson Warren), and Robert Warren.
Arrangement:
The collectionis arranged as 4 series:
Series 1: Letters, 1957-2012 (Boxes 1-6, OV 8; 5.3 linear feet, ER01; 0.111 GB)
Series 2: Writings, 1983-1991 (Box 6; 0.2 linear feet)
Series 3: Subject Files, 1970s-2012 (Boxes 6-7; 0.8 linear feet, ER02-ER03; 0.889 GB)
Series 4: Mail Art Projects, 1986-2012 (Box 7, OV 8; 0.8 linear feet)
Biographical / Historical:
John Evans (1932-2012), a collage artist in New York City, was an active participant in mail art.
After attending the Art Institute of Chicago, Evans moved to New York in 1963. He was a member of the Neo-Dada community and interested in Fluxus events. Meeting Ray Johnson and a few other mail artists at a party introduced Evans to mail art and led to many long term friendships.
Between 1964 and 2000, Evans produced a daily collage of found objects collected from the street, pasted onto a sketchbook page, enhanced with watercolor, and stamped with the date. Each collage included the image of a duck's head known as "Ursuline Duck," a reference to his friend Ursule Molinaro (1914-2000). The collages were, in effect, a diary that recorded everyday life and referenced his exhibition activities. John Evans: Collages, a monograph published in 2004, reproduced 364 collages representative of his style over time. His largest mail art project, "Fake John Evans Collages," spanned several years and was in progress at the time of his death.
John Evans died on October 5, 2012 following a heart attack.
Provenance:
Donated by Margaret Evans, widow of John Evans, in 2013.
Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Most letters are from other mail artists. Many are about correspondence art and the artists' careers. Letters from some artists who became close friends focus on personal and family news. There is a digital version of Collected Essays by John Held, Jr. Other letters contain invitations to exchange work, exhibit, or participate in mail art projects. Enclosures are frequent and include found objects, a wide variety of printed materials, and a few small artifacts.
Arrangement:
Letters are alphabetized by name of sender. Miscellaneous files for each letter of the alphabet contain letters from correspondents represented by fewer than 5 letters; within each folder, material is in rough alphabetical order.
Throughout this series, envelopes precede their contents and the address sides of post cards and aerograms face upward. Letters without envelopes, empty envelopes, and separated enclosures are placed at the ends of folders. Researchers must take care to maintain the order and should notify reference staff if the arrangement appears to have been disturbed.
Collection Restrictions:
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
Use of original material requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The John Evans papers, 1957-2012, bulk 1970s-2012, are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Evans papers, 1957-2012, bulk 1970s-2012. Archives of American Art, Smithsonian Institution.
