Gargantua in the Vineyard
Francois Rabelais (circa 1490 - 1553) and his satirical writings on the illustrious giants, Gargantua and Pantagruel, were the inspiration for this book of prints by Art Hazelwood. Rabelais was a scholar of erudition, a mocker of manners, a defender of appetites, an adherent of wine, and a champion of laughter.
This visual interpretation was inspired by an episode where Friar John, a monk of considerable thirst, is outraged by the invading army's destruction of the grape harvest.
This continuous image book is made up of 10 separate prints joined together into one, as well as a cover image, title page and colophon. The entire book when spread out measures 18" x 288" (inches). When closed the book measures 18" x 18" (inches).
Pulcinella in Hades is a limited edition book created at Eastside Editions by Art Hazelwood. It is an accordion fold book… eight feet of continuous four plate color etchings, vertically descending into Hades. It’s a comedy. The protagonist, who appears in every image, is Pulcinella of the commedia dell’arte.
This was Art Hazelwood's third book done in collaboration with Eastside Editions. Hazelwood’s artist books are in over 25 public collections including Yale University, Stanford University, and the New York Public Library.
Art Hazelwood created this book for the exhibition 'Banned and Recovered' at the San Francisco Center for the Book in 2008.
When the original book was published in 1759, Candide was denounced by both church and state. In its first year the Great Council of Geneva and the administrators of Paris had banned it, but the book succeeded in selling 20,000–30,000 copies. In 1762, Candide was listed in the Catholic Church's list of prohibited books.
Candide or Optimism, 2008, edition of 15, screenprint, closed size: 7 3/8” x 12 1/2” x 1/2”, open size 7 1/4” x 72”, binding: gate fold hardcover, cover paper: various, marbled endpapers, thirteen pages, book body paper: Lana Cover White. $500
Art Hazelwood calls himself artist, instigator and impresario to define the three intertwining areas of his practice. He uses printmaking within a range of political allegory and satire making work from political posters to fine press edition artist books. He has curated and organized a range of exhibitions at venues from museums to immigrant centers. He has worked for over 20 years with homeless rights groups; creating prints, and street posters, and has authored one book and contributed to another on art and homelessness.
He has been a regular visiting guest artist at San Quentin State Prison and teaches currently at the San Francisco Art Institute. He organized the San Francisco Poster Syndicate, which uses public poster printing to address issues ranging from student debt to the death penalty in Pakistan to the rise of fascism in America. Hazelwood’s prints regularly appear in several West Coast street newspapers.
His prints are in many public collections including the New York Public Library, Stanford Special Collections Library and The Library of Congress, RSDI Museum, Yale Special Collections Library, and The Whitney Museum of American Art. (Photo of Art Hazelwood by Dani Toriumi.