Osman Khan
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Osman Khan is an artist interested in using technology to construct engines that help create artifacts for social criticism and aesthetic expression. His work explores certain themes to see how technology fabricates as well as subverts our understanding of identity, consumerism, media and public space through interactive installations and site-specific interventions.

Osman Khan is currently a Visiting Assistant Professor at Carnegie Mellon's School of Art

Project Description Date
ebayaday: A view to call your own, you must see it to believe it! Dec. 2006
Iraqi Quagmire Nov. 2006
SEEN: fruits of our labor Aug. 2006
unviewed Jun. 2006
Khan Artist Weapons of Mass Consumption - Act 5: Resurrection
For the macro well being of a capitalist system, what is actually bought or sold becomes secondary to the actual act of consumer transactions transpiring.
Jun. 2004
Net Worth Weapons of Mass Consumption - Act 3: Reflection
Net Worth is an interactive installation that explores a new value/worth system for our information dependent society
Jun. 2004
Art Dispensing Machine Weapons of Mass Consumption - Act 2: Transformation
ADM dispenses unique art for the visitor based on their credit card information.
Jun. 2004
Data Dump Weapons of Mass Consumption - Act 1: Revelation
Data Dump addresses the notion in everytime we swipe a credit card or an ID card, we not only initiate the purchase of something or gain entrance, etc. but also leave a trace of data behind. A trace that is directly linked to the individual and their identities.
May. 2003
Para[site] Para[site], is a project in which an architectual space is infected by Autonomous Electromechanical Instruments which feed off their host by physically striking the structures of the building for sound generation. Jun. 2003
I pledge allegiance Sculpture made in response to USA's military actions in Iraq. May. 2003
mis(sed)communication mis(sed)communication aims to place the video window between nations/people in conflict. Apr. 2003
We interrupt your regularly scheduled program... In reinterpreting the broadcast stream by abstraction and time lapse, Flow paints an reimagined TV landscape. Mar. 2003
Sur la table Sur la table is an interactive table that uses a camera as input for interaction. Any non-white object placed on/over the table will bleed it's colors/image down the table. Mar. 2003
Fingerprint Digit traces in a digital world. Jan. 2003
Disorienting Cinema Disorienting cinema examines the notion of relocating the moving images to an elevator. It is a continuing effort of thinking about cinema for the mobile individual. Jan. 2003
Paranoid Profiler Project commenting on use of technology as means of control and also notion of profiling individuals based on xenophobia Dec. 2002
icefall Visuals derived from hours of TV recordings for another project and reused for this little ditty Sept. 2002
happenstance: ideas for mobile cinema Using machine Vision technologies and concepts of augmented reality to create an engine that allows for creation of mobile cinematic events Nov. 2002
Interpretations of the Situationist Internatoinal's Derive in context of LA and the automobile - Tale's from a city: a city speaks, affordance of grammar and creation of vocabulary. The derive as fictional narative Sept. 2002
Sorry Sir, we have no electricity What becomes of media art when you no longer can depend on the availability of electricity? Sept. 2002
Xeroxography Subverting the use of a copy machine Sept. 2002
Poloroids Photographs using a Poloroid Joycam Sept. 2002
Tweedle Dee / Tweedle Dum Sculpture Sept. 2002
Glaser's collision Sculpture Sept. 2002
© Osman Khan 2004. All rights reserved.