A CV IS NOT A CV IS NOT A CV support of my application for casual or part-time teaching in BA (Visual Arts), BA (Honours), Grad Certificate (Visual Arts), MA (Contemporary Art), and Doctor of Phil (PhD) levels at the Faculty of Visual Arts, VCA

A CV IS NOT A CV IS NOT A CV support of my application for casual or part-time teaching in BA (Visual Arts), BA (Honours), Grad Certificate (Visual Arts), MA (Contemporary Art), and Doctor of Phil (PhD) levels at the Faculty of Visual Arts, VCA
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    1    A CV IS NOT A CV IS NOT A CV  by Deborah Ostrow 2016  This CV is being submitted in support of my application for casual or part-time teaching in BA (Visual Arts), BA (Honours), Grad Certificate (Visual Arts), MA (Contemporary Art), and Doctor of Phil (PhD) levels at the Faculty of  Visual Arts, VCA Melbourne University 2016.  A CV IS NOT A CV IS NOT A CV, after Ostrow's A PHD IS A PHD IS A PHD 1 , after Stein's "Rose is a rose is a rose is a rose" 2 , hijacked by Blanchot, "A Rose is a rose" and Burroughs's "The word for word is word", is a CV of détournement 3 , a “deflection, rerouting, misuse, misappropriation.” 1 The exegesis was both framing device and stage, its aim being to explicate, via dramatisation, the real-time, lived-experiences of undertaking a PhD. It comprised of four parts: an Introduction, a short film, a textual transcription; and a one-act script written, acted and directed by the candidate and her personae; that of the would-be screenwriter, would-be filmmaker, sideshow plagiarist, edge-riding rebel and psych patient. The scene was set for an ongoing conversation between and among a cast of unconventional characters, both past and present who reframed the debate about madness   and its effect on art, and art’s effect on madness. 2   Gertrude Stein used "Rose is a rose is a rose is a rose" in her poem, Sacred Emily   (1913), first appeared in a collection titled, Geography and Play  , (Boston: Four Seas Co., 1922), pp.178-188. Maurice Blanchot's, “A Rose is a rose…” from his 1969 collection, The Infinite Conversation , references Gertrude Stein's poem, "Rose is a Rose is a Rose". Blanchot has added the article "A" to the title, contra Stein, as did Ostrow in her Doctorate titled, "A PHD IS A PHD…". Blanchot writes of a line by Gertrude Stein: a rose is a rose is a rose is a rose. "Why does this phrase trouble us? Because it is the site of a perverse contradiction ... a tautology ... the stubborn refusal to define. The Infinite Conversation, (trans.) Susan Hanson, (Minnesota: Minnesota University Press), 1992, p.343. 3     2   Like Ostrow's A PHD IS A PHD IS A PHD 4   used the Apocalypse Now screenplay  by John Milius and Francis Ford Coppola as a thin armature that sat under her non-linear screenplay, A CV IS A CV IS A CV sees her oeuvre deviate back and forth through time and place without logic, consistent with the conceptual aims of her CV. The story so far.  Ostrow began her Bachelor of Arts (B.A.) at The Victorian College of the Arts, Melbourne University, graduated and rerouted to Gertrude Contemporary (two-year residency), travelled on an Arts/Crafts Board of the  Australia Council, to Japan, and on an Asia Link to Bombay and New Delhi, India. Ostrow lectured at SNDT University, Bombay and Sir JJ School of Arts, Delhi and on her return at the Royal Melbourne Institute of Technology, where she graduated with a Masters of Fine Arts (M.A.). Some years later she received a Visual Arts/Crafts Board of the Australia Council to MOMA P.S.1 Contemporary Art Centre, International Studio, New York (one year), and was shortlisted by Arts/Crafts Board of the Australia Council for the Kunstlerhaus Bethanien Berlin. Ostrow undertook a Doctor of Philosophy in Fine Art (Ph.D.) at Monash University and was awarded an Australian Postgraduate Research  Award, where she worked years without supervision, straddled with mental health issues (exploited in her screenplay), and considered / rejected for 4   The Film can been seen   approx 15 min     A PhD is a PhD is a PhD   is a practice-based project that interrogates the process of an artist undertaking PhD research under established criteria. It consists of an exegesis, an srcinal screenplay, and a digital film made for online viewing, with images drawn from a range of documentaries and films found on YouTube. They have been dissected, re-assembled and then re-embedded to YouTube. The source material covers topics such as medicalization of madness, the conspicuous appropriation of universal media and ideas already floating around, with the intention of producing a pointedly political, critical, non-hierarchical, and humorous proposition/thesis.    3   numerous proposals, projects and residencies, ultimately / ironically being  backed by two amazing supervisors, HOD Professor. Callum Morton and Dr Jan Bryant. Ostrow graduated with high distinctions from two practiced International assessors, Professor S.J. Norman, University of Sussex and  Associate Professor P. Shand, The University of Auckland. New Zealand. See Ostrow's assessors report at documents end.  And then there were the solo shows . In 91- 2 Ostrow showed Constellation at  VCA gallery and Store 5, and then Atelier at Linden Contemporary. 93 saw  White, shown at Panorama, Centre Contemporary Arts, (the old Deutscher Gallery) and in 94 Ostrow showed at Studio 12, Gertrude Contemporary Art and CBD, Gallery Sydney and Basement gallery (where she was a founding member). In 95, she showed Teahouse, at Gertrude Contemporary, Clare, at CBD Sydney, and in 96, she curated artists on International Residency at Sanskriti Kendra, New Delhi India (where she oversaw the creation of a small gallery). That year Ostrow was commissioned by Dale Frank to show alongside him at IMA Brisbane, and the showed at Contemporary Art Centre South  Australia Adelaide. 97 saw shows at CBD Sydney and 1st Floor. On residency in New York 99 she showed Gallery-Run Apt 2J 11-14 46th Ave Long Island City and In Baghdad Dreaming of Cairo: In Cairo Dreaming of Baghdad 99 at MOMA Ps1. In o3-4, Ostrow showed Search+Rescue Mission and Gallery-Run  William Mora Gallery and Anchor Woman/Political Correspondent Rorschach-Test Psychodiagnostic Plates at Spacement. Araki’s ‘Tokyo Lucky Hole’ and ‘Dramatic Shooting and Fake Reportage’ was shown there in o5. Since o6 Ostrow has directed / curated, and shown in her street-fronted glass window gallery, Doggprojects. And the Group ones. 91 she showed in Innate/Ornate, curated by P Piccinini, VCA gallery and in o2 at Genus Patrizia Autore Gallery and Stellar Centre for Contemporary Photography. In 93 Lauren    4   Berkowitz/Stephen Bram/Deborah Ostrow/ Kathy Temin showed at Studio 14 (Ostrow's Studio) Gertrude Contemporary, part of the Jewish Arts Festival, N. King, curated. (un)authorized duplication, Gertrude Contemporary, and  Artworks 5 Gallery 101 Fifth Sculpture Triennial were also shown that year. 94 saw Filming the Body, curator N King, Basement, Passage: Spatial Interventions, Russell Drysdale Gallery, Next Wave Festival, N King and Reinventing the Grid, Robert Lindsay Gallery, International Festival of Arts, curated by R. Kent and Perspectives, Gertrude Contemporary. 95, Ostrow showed in Monash University Acquisitive Prize, Russell Drysdale Gallery, The Object of Existence, ACCA, curator Clare Williamson and in 96, Ruins in Reverse, Story Hall, curator S. Fereday, SWIM 2, Project Space RMIT, and Ten, Centre for Contemporary Photography. 97 CBD Gallery Fundraising exhibition, Sydney, Serrano, Stop 22, curator M Harper, and World Vision  Auction, curator selection B Starr, Sotheby’s. 98 she was in Logos, 25 Artist  Videos, The Memorial Complex Centre Court Adelaide, Private Parts, Russell Drysdale Gallery, curator N. King, Haimish, (homely) The Jewish Museum, N. King and N. Cass curators, Habitat Glasgow /Melbourne Exchange Project, C. Day, S. Koop, Centre for Contemporary Photography. In 99, part of Ostrow's residency at P.S.1 International Studio Program Exhibition, she showed at the Clocktower NY, followed by Agency, Perspecta, Australian Centre for Photography, Sydney. oo Perfect Strangers was shown at Centre for Contemporary Photography + Canberra Contemporary Art Space and Stellar, Centre for Contemporary Photography. o3 shows at Southerby’s Art Auction, Sydney, and Centre for Contemporary Photography in Steller. o5 KISSS The Kinship International Strategy on Surveillance / Suppression showed at Conical and Castlefield galleries, curators by D Fabyc, J Callaghan, I’m travellin’ light’...‘No, no, you don’t travel light’ (Tindersticks self-titled album-    5   95), Spacement, curated by Deborah Ostrow. o6 saw Selecta for West Space,  where Sanné Mestrom invited Deborah Ostrow, who invited Hany Armanious. The Nothing, 1o included Damiano Bertoli, Lou Hubbard, Sanné Mestrom, Deborah Ostrow, Daniel Price, Mathew Shannon, Jackson Slattery at West Space and Art as a Verb, 2o14-5 curated by Charlotte Day, Francis E. Parker and Patrice Sharkey, at MUMA + Artspace Sydney. Ostrow's A PHD IS A PHD IS A PHD was shown on YouTube   The written, published + unpublished story.  Atelier ex. cat 91, Constellation ex. cat 92, White Text N King ex. cat 93, Ostrow/Loder ex. cat 93, Teahouse ex. cat 95, Comfort Zone ex. cat 96, Aropax 20 ex. cat 97, 94, R Rooney ‘Talent in Store to Beat the Blues’ The Weekend Australian May 92, ‘What Does This  Art World Mean’ Next Wave Festival May 92, N King ‘Lauren Berkowitz/Stephen Bram/Deborah Ostrow/Kathy Temin’ ex. cat 93, N Loder ‘White on White: The Blinding Presence of Absence’ Club Tractor 93 C Heathcote The Age Sep 93, ‘Passage: Spatial Interventions’ Next Wave Festival 94, C. Heathcote The Age Sep 94, ‘Passage: Spatial Interventions’  ArtFan 3+4 Spring 94, F Colman ‘Passage: Spatial Interventions’ Agenda: Contemporary Art 94, F Colman Next Wave Festival Visual Arts Program  Art+Text Sept 94, R Kent ‘Reinventing the Grid’ ex. cat, Oct 94, J Higgie ‘Reading Between the Lines: Reinventing the Grid’ eyeline autumn/winter 94, C. Heathcote ‘Reinventing the Grid’ The Age Oct 94, C McAuliffe ‘Next Wave Festival’ Art and Australia summer 94, R Nelson ‘Teahouse’ Agenda: Contemporary Art June 95, M Sierra ‘Teahouse Stirs Subtle Depth’ Herald-Sun 95, AIC News (Australia-India Council) ‘Resident artist blends east and  west’ 95, ‘Perspectives’ Gertrude Contemporary Art Spaces Nov 95, N King ‘The Object of Existence’ RealTime Feb-Mar 96, Sunday Magazine
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