American artist John Baldessari and film set designer Naomi Shohan created "PA" #3 presenting a unique combination: film stills from the outsider's view—the artist's take on Hollywood—and film stills from the insider's view—the set designer who has worked on many major film productions such as "American Beauty," "Constantine," "The Replacement Killers," "The Sorcerer's Apprentice," as well as many others. They engage in a visual dialogue and play with juxtapositions, correspondences, and contrasts, which add new surprising, ironic, and witty dimensions and narrations to the images.
The publication includes a conversation between John Baldessari and Naomi Shohan, moderated by Amy Cappellazzo, as well as texts by David Campany and Jessica Morgan.
"PA" is an artist's magazine which is published annually. Each issue presents an in-depth look at the oeuvre of a contemporary artist working in the medium of photography. The artists are given the opportunity to invite a fellow artist of their choice to make a contribution to the issue and to engage in a dialogue about their practice.
John Baldessari (1931-2020) is a key proponent of Conceptual art and one of the most important figures in contemporary art of the last forty years. Since his sensational "Cremation Project" in 1970, which involved burning all the paintings he had made between 1953 and 1966, his work has revolved around the relationships between language and image as forms of expression. In his painting, photography, film/video, collage, and reliefs, Baldessari has explored the mechanisms of media representation, as well as the subject of artistic work itself. Early on, Baldessari began integrating images and text from advertising and movies into his works and building up a large archive of film stills, publicity, and press photographs. This image material is then contrasted, cropped, and processed in numerous variations and visual realizations. From 1980, the artist worked mostly without text in series of photographs and pictures, while continuing to deal with conflicts and constructions of narrative content. Over the course of his oeuvre, overpainting, voids, gaps, and withheld information increasingly take on the function of the language evoked within the viewer.
