"Quotations: the Art of George Deem,"  Mattatuck Museum, Waterbury, Connecticut, April 9 - May 17, 2015. Curator: Cynthia Roznoy. Checklist of works in the exhibition.

"George Deem: The Art of Art History," The Boston Athenaeum, Boston, Massachusetts, April 11 - September 1, 2012. Exhibition curator: Dr. David B. Dearinger, Susan Morse Hilles Curator of Paintings & Sculpture at the Boston Athenaeum. Fully illustrated catalogue with checklist. Catalogue with monographic essay "George Deem" by David B. Dearinger. For more information please visit: http://www.bostonathenaeum.org/node/1260

"George Deem: We Were There (Recent Work)," Pavel Zoubok Gallery, New York, January 8 - February 7, 2009. Illustrated catalog with Introduction by Arthur Danto. Essay Presence and Pleasure in the Art of George Deem by Charles Molesworth. Acknowledgements by Claudia Stone and Pavel Zoubok. A memorial exhibition presented in conjunction with the exhibition "George Deem: Quotations (Early Work)" at Allan Stone Gallery, New York, January 8 - February 21, 2009.

"George Deem: Quotations (Early Work)," Allan Stone Gallery, New York, January 8 - February 21, 2009. Illustrated catalog with Introduction by Arthur Danto. Essay Presence and Pleasure in the Art of George Deem by Charles Molesworth. Acknowledgements by Claudia Stone and Pavel Zoubok. A memorial exhibition presented in conjunction with the exhibition "George Deem: We Were There (Recent Work)" at Pavel Zoubok Gallery, New York, January 8 - February 7, 2009.

"George Deem," Pavel Zoubok Gallery, New York, October 12 - November 11, 2006.   Catalog essay by Peter Frank: "George Deem: The Theater of Seeing,"

George Deem: The Theater of Seeing

George Deem has been a part of the New York art scene for a half-century ... Anticipating "appropriation," predating even Elaine Sturtevant in his faithful, if oft-subversive, reworkings of old (and old-ish) masterworks, Deem was the first painter to participate in mainstream American-art discourse not simply by copying or reworking extant paintings ... but by reinhabiting them the way a hermit crab moves into an abandoned shell, reiterating them time and again with small (if telling) variations, in effect "reproducing" them by hand.

When Deem first showed these painterly recyclings in 1963, he was naturally regarded as a Pop artist -- less slick than most, but every bit as fixated on the "common object."  In this case, the common object was the rarest object of all, an artwork that had become common currency in American visual culture. Deeming Deem a Pop painter didn't miss the point, but necessarily (given the tenor of the times) shrank it to a mere pinprick. These images did indeed circulate widely throughout our culture, ... and his real subject matter, like Warhol's, was the replication of images to the benefit and at the same time at the expense of the subjects of those images. This was painting in the age of mechanical reproduction. And, by that measure, this was post-modernism aborning.

... (Deem's Vermeers) are more than variations on theme after theme; they are variations on a presence, a social cliche -- that is, a Pop gesture -- and a broad meditation on seeing. ... Deem experimented -- and continues to experiment -- with Vermeer's sight every which way he can, now looking through his glasses, now looking over his head, now standing between Vermeer's physical vantage and ours, now standing between Vermeer's historical position and ours, now zooming in on his technique, now zooming out and pulling in new light.

After all this time, George Deem continues to direct a theater of seeing. His repertory is vast, ranging from patriotic Americana to European modernism; but Vermeer is his Shakespeare, a bastion of lyric grace even as it serves as an endless source of discovery -- a model and spur, it seems, for everything else Deem does. Deem's art is about Art, all right, but is not just about Art. It's about everything Art is about. Vermeer's deceptive simplicity reveals, to any and all of us, a formidable depth when viewed in the right ways. In his examination of everything Art is about, Deem continues to search and find new ways of seeing. (Peter Frank)

"New/Now: George Deem," New Britain Museum of American Art, New Britain, Connecticut, February 9 - April 17, 2005. Curator: Douglas Hyland, Director, New Britain Museum of American Art. No catalog. George Deem gave a gallery talk on his work at the opening of the Exhibition.

 I first became aware of the paintings of George Deem (1932 - 2008) in 1978 when I read the catalog for the exhibition curated by my predecessor, William Hennessey, at the Spencer Museum, University of Kansas. Subsequently, I was pleased to become reacquainted with his work by visiting Trustee, Linda Cheverton-Wick, and Walter Wick at their downtown Hartford studio. In 2006, the Museum organized a retrospective of the works of George Deem shortly before work was commenced on the Chase Family Building. (Douglas Hyland, George Deem Collection,  Gallery wall text statement in the exhibition "Director's Favorites: 1999 -2015," New Britain Museum of American Art, New Britain, Connecticut, October 17, 2015 - January 3, 2016.)

"George Deem: New Work," Pavel Zoubok Gallery, New York, November 18 - December 18, 2004. No catalog.

"George Deem: Paintings of Vermeer Interiors," Yale University Jonathan Edwards College Master's House, January 16 - March 16, 2003.
Curator: Gary L. Haller, Master. Catalog introductory essay: Gary L. Haller. Invitation and catalog design: Sloan Wilson.

About the Exhibition
Some of the Jonathan Edwards College exhibitions have resulted from my discovery of the work of an artist and a subsequent personal relationship with the artist ...In the case of George Deem, it has worked in reverse, i.e, first the artist and then his work. George was kind enough to make a pilgrimage from New York to see an exhibition in the Master's House. This led to our correspondence, which resulted in my visiting him and his studio and then learning about his art.
     Those who know of my interest in figurative realism may be surprised that I am attracted to these Paintings of Vermeer Interiors that leave out the figures. However, projective representation (orthogonal, oblique and perspective), perhaps derived from crystallographic representation of three-dimensional solids, is a sometime interest of mine which I tried to explain a couple of years ago in a talk entitled "What Makes It Real?" And if you are going to speak of perspective projective representation, the most often used example is that of Vermeer's paintings. All of this is retained in the work of George Deem's paintings of Vermeer interiors. George can also do figures, e.g., there is a wonderful self-portrait of George that I wanted to include in this exhibition, but he thought it would "introduce a distracting element" with respect to the analytical and interpretative aspect of his Vermeer work. Sometimes you just have to listen to the artist and so you must see his self-portrait another time.
     As it happens, Jonathan Edwards College has one of the world's experts on Vermeer, J. Michael Montias, as a Fellow. Michael's book, Vermeer and his Milieu: A Web of Social History, 1989, remains the standard reference on the life and times of Vermeer. It follows that we would wish to involve Michael in this exhibition. A Master's Tea on Vermeer's life, and the origins of Michael's interest in him, would be the obvious vehicle to do this. ...I am also pleased that another scholar who knows Vermeer and Deem, Walter Liedtke, Curator of European Paintings at New York's Metropolitan Museum of Art, will present a Master's Tea entitled "Responding to Vermeer" as part of the opening celebration of the exhibition of Paintings of Vermeer Interiors, 16 January 2003. (Gary L. Haller, Master, Catalog Introductory essay, January 2003.)

Wayne Franits, Vermeer, Phaidon Press, 2015. " This book is dedicated to the memory of two extraordinary aficionados of Vermeer: John Michael Montias and George Deem."

"George Deem: Vermeer Extended New Paintings," Pavel Zoubok Gallery, New York, March 21 -  April 20, 2002. This was George Deem's initial solo exhibition with Pavel Zoubok Gallery. Exhibition brochure announcement with essayistic note by Mieke Bal and reproductions of "Extended Vermeer," 2000, and "Painting Perspective," 2001.

George Deem participated in a gallery talk on his paintings with Christiane Hertel and Walter Liedtke at a private viewing on April 4.

Lecture by George Deem: "George Deem: Vermeer Extended," Institute of Fine Arts, New York University on April 11.

Vermeer's interiors are peopled with attention-drawing figures whose dress and everyday activities make us dream of things past. But Vermeer is also a much-cited master of perspective, that pictorial device to render space which became a prescriptive standard for judging skills in realism, where dreaming is no longer admitted. Vermeer's rooms are turned into spaces of breathtaking suspense in George Deem's fictions of what they are in addition to their being the settings for domestic scenes. This is the art of adding by subtraction.
     Take a Vermeer, subtract figures, furniture, props, and much more emerges. Subtract the temptation to allegorize and you get newly focused vision. Elongated or widened rooms suddenly reveal their artifice. Deem's interiors are explorations of how to paint beyond the realism that makes things invisible through routine perception.
     In Extended Vermeer the shadow of the window-wall inhabits the bright reflection coming as if from a door opening. Shadow and light extend the space of the painting. The blue-upholstered chair is waiting for someone bold enough to sit in light and shade, willing to let the shadow of the past be cast over him so that he can in turn illuminate the presence of the past. That chair: Deem's self-portrait.
     Now, let us look at painting not as product but as action. In Painting Perspective perspective is caught in the act of trying to deceive us. Smudges of paint and lines drawn through the wall with its leaded-glass windows draw the eye to a perspectival image whose vanishing point swerves to the left. But then we hit the wall directly before us where a map tells not about the wide world but about the flatness of the picture.
     Deem's probing of representation as the production of imaginary spaces is not limited to Vermeer. The hanging glass orb, evoking the mirror in Van Eyck's famous Arnolfini wedding scene, does not mirror us but in its roundness reflects the smudges of paint on the left wall. The curtain is raised so that we can look into the kitchen where the miraculous world of painting is fabricated. The mirror reflects the act of painting in history. Vermeer after Van Eyck, Deem after Vermeer. Now, and then. (Mieke Bal, Exhibition brochure announcement, Pavel Zoubok Gallery, New York, March-April 2002).

"George Deem: Paintings," Las Vegas Art Museum, Las Vegas, Nevada, September 21 - November 4, 2001. Curator James Mann. Catalog edited by James Mann. Catalog essay, "Milestone In The Making," by James Mann.The paintings in the exhibition are from the collection of George Deem, courtesy Nancy Hoffman Gallery, New York City, with the exception of "Bauhaus School" which was borrowed from Nancy Hoffman Gallery.
This exhibition was part of a concurrent exhibition "The Masters Remastered" organized by the Las Vegas Art Museum to present in one place work by four artists variously known for quoting the images of earlier artists in their work. The four artists are: David Bierk, George Deem, Max Coyer, and Koya Abe.

Milestone In The Making

What is the art of George Deem about? Is it about the narrative content of the paintings? Is it about their ahistorical iconic juxtapositions? Is it about the comprehensive virtuosity of the artist himself? Is it about the historical exhaustion of all styles, and the resultant impossibility of innovating new ones? Is it about homage to great art and artists of the distant and more recent past?

     One finds it easy enough to track down the multiple sources of his images, as the artist himself gives us all the necessary verbal clues, if the sources aren't already obvious. Then one can knowingly say that this work quintessentially belongs to the post-modern moment of art history, in which a recycled, cuisinart kind of time-bending, painterly chopping-up (or more refined blending) of previous art takes place. And the same can be said of the work of numerous contemporary artists. Yet even among them, Deem is an extreme case. For has any known artist admiringly imitated a greater number of old and modern masters than Deem?

     But this direction of discourse neither asks nor answers the $64,000 question about Deem's extensive, impressive body of work. After all the historical research into sources has been completed, and the necessary nod made to the fate of great art's iconography in our present, inevitable age of mechanical reproduction, what do the paintings of George Deem uniquely prove? Something a good deal more profound than the mere footnoting of art-historical quotations is inclined to consider. For in the end, Deem's art is about the arbitrariness of all style, of every style. No single, historically honored style is privileged over another, and all can be equally well mastered by an artist of great technical skill. This is what Deem's work so resonantly demonstrates.

     We have just finished two centuries of Romantic culture, in which the development of a signature style by visual artists, poets, novelists, composers, and architects has been perhaps the most universally identifiable and admired characteristic. ... With the work of an artist like George Deem, perhaps fundamentally an artist like Deem, we have entered a new age in the fine-art culture of the civilization we all both inhabit and simultaneously create. ... Romanticism, the period of analytic dismantlement, brought both itself and the tradition to a point of termination. Now we enter the age of the artistic construct, of ad hoc artistic solutions to temporary intellectual dilemmas.

     It will not be a lesser age of art but a very different one. ... art is now able to explore all its infinitude of possibilities without being philosophically bound to any of them. Work such as George Deem's shows us one very extensive range of possibilities, and is an outstanding example of the new era in art being already in full swing. Far from being tied to the tradition, his art is utterly liberated from it, able to plunder it at will and vandalistically deface it for his own immediate purposes. As such, his work is an exemplary, highly important, perhaps even primal milestone in the new art of the new artistic era, in the new century his work has so courageously embarked upon.
(James Mann)

"George Deem and Peter Angelo Simon: Paintings and Photographs in Conversation," Evansville Museum of Arts and Science, Evansville, Indiana, April 17 - June 3, 2001. A collaborative exhibition of paintings by George Deem and photographs by Peter Angelo Simon. Curator: Mary McNamee Schnepper. Catalog Introduction: Evansville Museum Director John W. Streetman III. Catalog essay "George Deem and Peter Angelo Simon: Timely Conversation" by Mieke Bal. Catalog Designer: Nancy Foote/By Design, New York.

 "George Deem: Recent Paintings of Vermeer Interiors," Nancy Hoffman Gallery, New York, January 15 - February 16, 2000. No catalog,

Postmodern before the term was invented, for the past 35 years George Deem has made art that involves the quotation of art-historical masterpieces. His is an art of wit and quiet virtuosity, presenting us with the familiar in an unfamiliar context. As Peter Frank observed in a 1984 catalogue, Deem's paintings are not copies of paintings, but paintings of paintings …Vermeer above all has been Deem's artistic father. … "Vermeer Interiors," Deem's most recent show, included nine compositions derived from the rooms in the master's paintings. The theme is stated by Seven Vermeer Corners, which depicts the backgrounds of seven of Vermeer's best-known compositions with their titles written underneath, each reproduction executed in the original's size. Unpeopled, the rooms float in separate spaces on the canvas, like specimens pinned to a board. The interstices show primed canvas and a messy welter of brushstrokes that recall the motions of brush cleaning.
     
Deem emphasizes the independent nature of his paintings by making changes to the originals. For example, the chair in the background of Vermeer's Geographer, which is cropped by the picture's edge in the original, is intact in Seven Vermeer Corners. On the other hand, Deem often leaves a portion of his painting incomplete, as in Vermeer's Lady Seated at Virginal, Lady Removed, where the upper right corner is unfinished.
     
Such a denial of illusionism is appropriate to what are, in essence, meditations on Vermeer. Deem's brushwork is also looser, a little more abstract as befits a state one step removed from the original, and, on occasion, he leaves ridges of paint around the edges as evidence of the hand (something Vermeer never would have done).
     
Without Deem's knowledge of Vermeer, the viewer may not see a significant difference between the two artists' work. In this regard, I think Deem's most successful paintings are those entirely without people. The scenes evoke the sensation of déjà vu, yet there is still the shock of the unexpected. The emptiness of the rooms creates a contemporary sense of alienation -- Vermeer meets Edward Hopper.  (Reagan Upshaw, "George Deem at Nancy Hoffman," Art in America, July 2000

"George Deem: The School of...Paintings," The Branson School, Ross, California, January 23-27,1995. No catalog.

George Deem was the first visual artist-in-residence at the Branson School in Ross, California, the week of January 23 - 27, 1995. His residency was structured to provide interaction with students, parents, alumni, and faculty. It included an exhibition of his paintings in the Branson School Gallery, lectures to art classes, a presentation to students at the school assembly, a reception with parents and alumni followed by a slide lecture on his work in the school theater, and taking art students on a tour of the newly opened San Francisco Museum of Modern Art. 

"George Deem Paintings,"  Capricorn Galleries, Bethesda, Maryland, June 4 - 21, 1994. Curator: Gallery Director Phll Desind. No catalog.

"George Deem: Studies for the School of...Paintings," Eckert Fine Art Gallery, Indianapolis, Indiana, May 28 - circa June 30, 1994. No catalog.

The Eckert Fine Art Gallery exhibition of studies for the paintings was concurrent with the exhibition George Deem: The School of... Paintings at the Indiana State Museum, Indianapolis, May 27 - July 24, 1994. 

George Deem made more than one study for School of Chardin.  It is uncertain which study went to the Eckert Fine Art Gallery show.

"George Deem: The School of... Paintings," Indiana State Museum, Indianapolis, Indiana, May 27 - July 24, 1994. Curator: James May.

Anonymously edited catalog: Indiana State Museum / Paintings by George Deem / "The School of ..." / May 27 - July 24, 1994. Cover art designed by Alice Sigmon.
Contents
Exhibition Diagram
"The exhibit begins with a video biography of artist George Deem. 'School of ...' paintings are indicated by a diagram number which relates to the original artist, style, or group of artists discussed on the following pages."
About George Deem
Artist Biographies
School of Vermeer / Johannes Vermeer. School of Piero della Francesca / Piero della Francesca etc.
Art History Time Line
Artist Biographies
Bibliography

"George Deem: Studies for the School of...Paintings," was a concurrent exhibition at Eckert Fine Art Gallery, Indianapolis, Indiana, May 28 - circa June 30, 1994. No catalog.

"The School of... Paintings by George Deem,"  Evansville Museum of Arts and Science, Evansville, Indiana, May 12 - July  11 1993.  Curator: Evansville Museum Director John W. Streetman III.
Catalog: in conjunction with the Exhibition,  Art School: An Homage to the Masters, Introduction by Irene McManus, was published jointly by Chronicle Books, San Francisco, 1993 and, under the title Art School, by Thames & Hudson, London, 1993.

Also accompanying the exhibition was a closed-caption documentary video by Calvin Kimbrough, produced by the Evansville Museum and filmed on location in George Deem's studio in New York.

Exhibition Schedule: Evansville Museum of Arts and Science, Evansville, Indiana, May 12 - July  11 1993;  Harn Museum of Art, University of Florida, Gainesville, Florida, October 3 - November 28, 1993; Mitchell Museum of Art, Mount Vernon, Illinois, December 4, 1993 - January 16,1994; Polk Museum of Art, Lakeland, Florida, March 9  - May 8,1994; Indiana State Museum, Indianapolis, Indiana, May 27 - July 24, 1994; The Wichita Center for the Arts, Wichita, Kansas,  August 14 - October 9, 1994.

"George Deem: Paintings," Broadcast Center Building, First Church of Christ, Scientist, Boston, Massachusetts, March 1989. No catalog. The exhibition was arranged by Lucy Aptekar, Aptekar Arts Management, Cambridge, Massachusetts. George Deem gave a lecture on his work at the opening of the exhibition on March 7, 1989.

" George Deem 1986," On View Downtown Gallery, Indianapolis, Indiana, November 10 - 28, 1986. No catalog. Poster illustrated with a reproduction of Vermeer's Girl with a Red Hat.

Review: Marion Garmel, " 'Artist's artist' in witty exhibit," The Indianapolis News, Thursday, November 27, 1986.

Article: Carol Weiss, "Familiar Images: 'Quotation' Artist Explains His Work," Arts Insight, Indianapolis, February 1987. The article, based on an interview of George Deem by Carol Weiss, includes an extensive discussion of his work by the artist. 

"George Deem," Merida Gallery, Louisville, Kentucky, April 10 - May 12, 1983.This was Deem's fourth solo show at Merida Gallery.
The show was part of a multi-gallery exhibition, "Four Artists," April 10 - May 12, 1983, an exhibition organized by three Louisville galleries: Merida Gallery, Contemporary Crafts Gallery, and Matchmaker Gallery. Fold-out Invitation Announcement.

"George Deem: Paintings," Sneed Gallery, Rockford, Illinois, 1981. No catalog.

"George Deem Paintings," Shircliff Gallery of Art, Vincennes University, Vincennes, Indiana, October 2 - November 7, 1980. No catalog.

 "George Deem," Sneed Gallery, Rockford, Illinois, 1980. No catalog.

"George Deem: Paintings," The Greenberg Gallery, St. Louis, Missouri, September 1979. No catalog.

Except for a few paintings, this gallery show at the Greenberg Gallery borrowed the works in the exhibition "The Making of a Masterpiece: Paintings by George Deem" at the Evansville Museum of Arts and Science, Evansville, Indiana, June 23 - August 5, 1979.  No catalog.  Exhibition Schedule: Evansville Museum of Arts and Science, Evansville, Indiana, June 23 - August 5, 1979; The Greenberg Gallery, St. Louis, Missouri, September 1979.

"The Making of a Masterpiece: Paintings by George Deem," Evansville Museum of Arts and Science, Evansville, Indiana, June 23 - August 5, 1979. Curator: Evansville Museum Director John W. Streetman.  No catalog.  Exhibition Schedule: Evansville Museum of Arts and Science, Evansville, Indiana, June 23 - August 5, 1979; The Greenberg Gallery, St. Louis, Missouri, September 1979. George Deem was Artist in Residence at the Evansville Museum, June 23 -30, 1979, during which he  taught daily classes in painting at the museum and gave a lecture on his work at 7 PM June 23, 1979. 

" Paintings by George Deem," Merida Gallery, Louisville, Kentucky, June 12 - July 8, 1978. No catalog.

"George Deem: Recent Paintings," Allan Stone Gallery, New York, November 1977. No catalog.

 "George Deem," Sneed-Hillman Gallery, Rockford, Illinois, May 21 - June 30, 1976. No catalog.

"Deem: An Exhibition of Paintings and Drawings by George Deem," Indianapolis Museum of Art, Indiana, December 8, 1974 - January 19, 1975. Curator: Richard Warrum. The catalog includes black and white photographs by Ann Cornelisen "which afford a superb commentary on the paintings."
Ann Cornelisen Papers at Vassar College, Poughkeepsie, New York: Container List, Professional, Research Material and Notes, Folder 9-20 "George Deem Catalogue," 1973. http://specialcollections.vassar.edu/collections/manuscripts/findingaids/cornelisen_ann.html#d0e192

Exhibition Schedule: Allan Stone Gallery, New York, February 1 - 28, 1975; Witte Memorial Museum, San Antonio, Texas, April 8 to May 14, 1975. The Witte Memorial Museum extended the exhibition to close in September 1975.

 "George Deem," Sneed Gallery, Rockford, Illinois, 1972. No catalog.

"George Deem," Galerie M. E. Thelen, Essen, Germany, December 6, 1969 - January 15, 1970. 

Catalogue consists of a flyer with illustrations and checklist, and an essay, in German, by Udo Kultermann. English translation with essay in Archives of American Art, Smithsonian Institution www.aaa.si.edu/collections/george-deem-papers-16139

 "George Deem: Recent Paintings," Allan Stone Gallery, New York, May 10 - 30, 1969. No catalog.

"George Deem," Pat Sneed Gallery, Rockford, Illinois, 1969. No catalog.

"George Deem," Merida Gallery, Louisville, Kentucky, 1969. No catalog.

 "George Deem," Fevrier Gallery, Houston, Texas, 1969. No catalog.

"George Deem Paintings," Merida Gallery, Louisville, Kentucky, September 14 - October 5, 1968. No catalog.

Review: Sarah Lansdell, "Deem's Revised Old Masters at Merida," The Courier-Journal & Times, Louisville, Kentucky, Sunday, September 15, 1968. Black-and-white reproduction: George Deem, A List of Portraits.

"A new array of Deem's images, from the endless treasury of the 'classics.' will go on display today (2 to 5 p.m.) at Merida Gallery in the second Louisville show of work by New Yorker Deem....For his new works, Deem uses his found images with greater prodigality than before. In his first show at the Merida in 1966 (which included his now-famous 'Three-Quarter Vermeer') repeated images were mostly landscapes ...he is now making 'lists of paintings.' Typical of this new turn is his 'List of Portraits,' in which familiar old-master portraits are lined up college-yearbook fashion, with only the faces and busts extracted. I say 'college-yearbook' fashion, but there are also nuances of composition. This patchwork of ladies and gentlemen goes together extremely well, with lively reactions among their shapes and colors."

 "George Deem," Pat Sneed Gallery, Rockford, Illinois, 1968. No catalog.

"George Deem: Recent Paintings," Allan Stone Gallery, New York, April 13 - May 4, 1968. No catalog.

"George Deem Paintings," The Merida Gallery, Louisville, Kentucky,  May 1 - 28, 1966. The Merida Gallery, 315 West Broadway, Louisville, Kentucky, Director: Fred Merida. Exhibition courtesy of Allan Stone Gallery, New York.  Catalog with checklist.

"George Deem," Allan Stone Gallery, New York, February 19 - March 12, 1966. No catalog.

George Deem (Stone Feb 8-26) continues to paint pictures of pictures. To stress his distance from the originals, he imitates in exactly (a Reynolds child), repeats (the same Fragonard sixteen times), puts several different originals together (five Washingtons by Stuart). This produces a sense of alienation stronger than the glee of running amuck in art history. The empty margins may be the image not of irony, but despair. SB, ArtNews, New York, February 1966. Illustration, page 53, Three-Quarter Vermeer, L-shaped canvas, 60 inches high.

"George Deem: Paintings," James Goodman Gallery, The Park Lane, 33 Gates Circle, Buffalo, New York, February 27 - March 11, 1965.
No catalog.

"George Deem: Recent Work," Allan Stone Gallery, New York, January 23 - February 18, 1965. No catalog.

George Deem (Allan Stone Gallery, 48 East 86th Street): Pop art paintings taking the form of pastiches of well-known old masters are so well copied that one wonders why a more sensible procedure was not adopted. Unknown reviewer, New York Times, January 30, 1965.

Typed Gallery checklist. Recent Paintings By George Deem, January 23 - February 17.

1. Composition with Landscapes	1200
2. Multiple Inness	SOLD (equals Multiple George Inness, 1964)
3. Frans Hals, Postcard Series	SOLD
4. Landscape	1100
5. Limited Guide to Famous Portraits	RESERVED
6. Six Paragraphs	750
7. Cancelled Envelope	SOLD
8. A Working Painting	SOLD
9. February, 1964	1200

Long Wall (left to right  top to bottom)

1. After Fragonard	SOLD
2. Easter Week	450
3. Fragonard Drawing	300
4. Aunt Renie and George Washington	450
5. A Drawing with Children	300 (equals The Drummond Children, After Raeburn, 1963)
6. Crossword Puzzle (Velazquez)	750
7. Multiple Corot	350
8. Painting with Mirror (Millet)	750
9. Reproduction (Vermeer)	550
10. A Drawing for David Lee	350
11. Cancellation	SOLD
12. Detail (Velazquez)	SOLD
13. Family Drawing	SOLD
14. Napoleon Nine Times	350
15. Three by Chardin	900
16. Detail (Vermeer)	550
17. Washington Crossing the Delaware	650
18. Time Magazine	650
19. Composition After Raeburn	SOLD
20. Eakins in Sepia Tone	SOLD
21. Washington on Copy Paper	350
22. Postcard	700 (possibly equals Postcard 2 (Hubert Robert), 1965)
23. Graded Drawing	SOLD (equals Graded Drawing (Prud'hon), 1964)
24. Boy With a Torn Hat, Completed Description.	750.    (equals The Torn Hat - A Completed Description, 1964)

"George Deem: Recent Paintings" Allan Stone Gallery, New York, October 22 - November 9, 1963. No catalog. Listing:  "Allan Stone, 48 E 86, YU 8-6870 Until Nov. 5 George Deem: Recent Paintings, The New York Arts Calendar Nov. 1963"

George Deem (Stone; to Nov. 9) is superbly able to lift from his subjects their face values and carry out his own purposes with a beautiful disregard for the historical demands. Recent work concerns master paintings, not as pop art, but, traditionally, as subjects. The Hals lady with tankard and owl is repeated six times and has six distinct and inventive statements to make about color, light, jokes, paintings. A Painting for a Library, a warm grisaille synthesis of every nineteenth-century Greco-Roman Information Desk portrait, looks at the toga-set in coffee-break attitudes and makes mock of style and subject directly yet marvelously. Deem is not content with parody, but builds a taut luminous painting to complete his image of himself. His Degas', Corots, English portraitists are born with their own beginnings as Deem paints a new work every time with sensitive, serious dynamics. (Prices: $150-$650.) Valerie Petersen, ArtNews, New York, October 1963. Illustration: George Deem, An English Painting, 65 inches high (sic). The painting reproduced is The Calligraphy of Henry Raeburn, 61 x 48 inches).

New Old Masters
Very often children cut out illustrations of favorite works of art from magazines and make scrap-books. In his paintings at the Allan Stone Gallery, 48 East 86th Street, George Deem goes two or three better than this in the creation of an imaginary museum by painting faithful little versions of celebrated pictures to which he affixes explanatory texts in calligraphic gibberish. His taste in the old masters is conventional -- a page of Raeburns; of Dutch landscapes; of Alma Taddema, and no less than four heads of Hals's "Malle Bobbe."  These are fetching little exercises, decently enough painted, but pretty inconsequential. (Unsigned review, Publication uncertain).

"George Deem," The Vincennes Fortnightly Club, Vincennes, Indiana, October 18 - November 18, 1957. No catalog.

October. The Vincennes Fortnightly Club was entertained by the Art department on Wednesday afternoon. ... George Deem, Jr., artist, and at present a senior at the School of the Art Institute of Chicago, gave a lecture entitled "An Initiation Into 20th Century Art." He explained how the modern concept of painting had its ground in the first half of the 19th century, saying that in the 1870s the Art Academy of France was classical and headed by Ingres and David. The impressionists who broke away from the Academy were Corot, Manet, Monet and Pissarro. Seurat demolished the impressionists with his famous picture, owned by the Art Institute, depicting an island near Paris, with figures on the bank, and then came the great modernists, Cezanne, Degas, Van Gogh and Gauguin. Mr. Deem illustrated his talk with colored slides showing paintings done by the artists he discussed and closing with Braque and Picasso. His exhibit of his own paintings includes 14 pictures, whose titles are "Forest Society," "The Swamp," "Girl in Red," Femme et Chat" (Woman and Cat), "The Old Elevator," "Court House, Vincennes," "Cathedral Birds," "Trellis Woman," "The Angel," "Judy," "The Mower," "Marine Landscape," "The Old Bridge, Heidelberg," and "The Hay Rake." These will remain on exhibit at the club house for a month. (Mrs. Ruth Ashby, Society Editor, "Fortnightly's Art Section Presents Youthful Painter," Vincennes Sun-Commercial, October 18, 1957).