Hassan Khan

  • Image provided by Hassan Khan.


    The sources I am referring to here are several things at once. The reasons they are trusted also vary. On the one hand, these are the sources of the work. And that could be almost anything: the way you dash across the road, the exact distance between two shelves in a run-down café, the hysterical ranting of an obsessed writer, a moment of embarrassment suddenly remembered while washing the dishes, the fantasy of an incredible victory, a burning ambition, a deep sadness, a half smile, a simple song that every time it’s listened to reveals something new, a mistake taken absolutely seriously. They

  • Odilon Redon, Domecy Decoration: Trees, Yellow Background, 1901, oil, distemper, 94 5/8 x 72 7/8".


    To take stock of the past year, Artforum contacted an international group of artists to find out which exhibitions and events were, in their eyes, the very best of 2011.


    Mary Reid Kelley, Sadie the Saddest Sadist (Armory Show, New York) Tucked away in the back of the Susanne Vielmetter Los Angeles Projects booth at the 2011 Armory Show was a monitor showing a costumed figure with exaggerated face paint, pacing in front of a hand-drawn black-and-white background. The piece was Mary Reid Kelley’s Sadie the Saddest Sadist, 2009, and the mixed metaphors, narrative snippets, and repurposed