{"id":39711,"date":"2020-05-22T10:18:12","date_gmt":"2020-05-22T14:18:12","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=39711"},"modified":"2020-05-25T11:46:34","modified_gmt":"2020-05-25T15:46:34","slug":"clayton-with-a-period-full-stop","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2020\/05\/clayton-with-a-period-full-stop.html","title":{"rendered":"Clayton With a Period, Full Stop"},"content":{"rendered":"\n

Over the years two dozen items about or related to Clayton Patterson<\/a> have appeared on this blog. It’s an indication of the staff’s interest in his cultural significance. Patterson’s importance in general, but especially on the Lower East Side of New York City, comes from his commitment to social and political values for the good of his community. He has put his life on the line to document and preserve it in a way that few are brave enough to do. Now his role as both activist and outsider artist in his own right is the subject of a new book, titled simply Clayton<\/strong>.<\/a><\/em>\u2014yes, with a period\u2014full stop. For those who know him, or of him, his name alone is sufficient to tell the story. For those who don’t, Permuted Press has gathered a group of remarkable graphic artists to tell it. <\/p>\n\n\n\n

\"\"<\/a>
With artwork from Miles Anderson, Nancy Calef, Roberto Castro, Seanne Catedral, Maegan Dolan, Esteban Erlich, Ray Felix, Max Hirnbock, Sasha Kimiatek, Jesse Lambert, Summer McClinton, Ben Moody, Natania Nunubiznez, Fabrice Sapolsky, Dov Smiley, and Chris M. Wilson; and with a foreword by Eddy Portnoy.<\/em> <\/a><\/figcaption><\/figure><\/div>\n\n\n\n

\u201cMr. Patterson\u2019s world has been the downtown demimonde of squatters, anarchists, graffiti taggers, tattoo artists, junkie poets, leathered rock \u2019n\u2019 rollers, and Santeria priests.\u201d
\u2014The New York Times<\/em><\/strong><\/p>\n\n\n\n

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From the publisher:<\/h4>\n\n\n\n

For the first time ever, legendary photographer and videographer Clayton Patterson\u2014who Anthony Bourdain described as the \u201carchivist of all things Lower East Side\u201d\u2014is the subject of a biographical graphic novel anthology. Like no other, Clayton has documented the often-overlooked people and cultural contributions of New York\u2019s Lower East Side\u2014sometimes finding himself in perilous situations as a result.<\/p>\n\n\n\n

For decades, Clayton has, as his friend Ai Weiwei puts it, \u201crelentlessly devoted himself to a kind of culture that examines authority.\u201d Best known for his documentation of the Tompkins Square Riots in 1988, Clayton lived at the intersection of numerous underground cultures, from drag queens to punks, gangbangers to tattoo artists, breathing in the same creative energy that gave life to Keith Haring, Jean-Michel Basquiat, the Talking Heads, Blondie, and other New York icons.<\/p>\n\n\n\n

In a time when the future of the city is threatened by hyper-gentrification, Clayton, whose work has documented the creative DIY underbelly of the Lower East Side, has become an icon of an increasingly vanishing New York. Now, in the tradition of Harvey Pekar\u2019s American Splendor<\/em>, eighteen artists pay tribute to him in this graphic novel anthology\u2014the first biography of this iconic artist intertwined with a rich history of the Lower East Side over the last thirty years.<\/p>\n\n\n\n

A few samples of the graphics: <\/em><\/strong><\/h2>\n\n\n\n
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\"\"<\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"

Over the years two dozen items about or related to Clayton Patterson have appeared on this blog. It’s an indication of the staff’s interest in his cultural significance. Patterson’s importance in general, but especially on the Lower East Side of New York City, comes from his commitment to social and political values for the good of his community. He has put his life on the line to document and preserve it in a way that few are brave enough to do. Now his role as both activist and outsider artist in his own right is the subject of a new book, titled simply Clayton.\u2014yes, with a period\u2014full stop. For those who know him, or of him, his name alone is sufficient to tell the story. For those who don’t, Permuted Press has gathered a group of remarkable graphic artists to tell it. <\/p>\n","protected":false},"author":3,"featured_media":39710,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,26,18,4,20,17],"tags":[],"class_list":{"0":"post-39711","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-books","9":"category-literature","10":"category-main","11":"category-media","12":"category-political-culture","13":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2020\/05\/Cover-LES-graphic-anthology-420.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-akv","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39711","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=39711"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39711\/revisions"}],"predecessor-version":[{"id":39852,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39711\/revisions\/39852"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/39710"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=39711"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=39711"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=39711"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}