FINALLY 4’TH OF OCTOBER 2013, SWISS ACTIVISTS FROM GENERATION GRUNDEINKOMMEN ORGANIZED A PERFORMANCE IN BERN IN WHICH 8 MILLION COINS WERE DUMPED ON A PUBLIC SQUARE. THIS WAS DONE IN CELEBRATION OF THE SUCCESSFUL COLLECTION OF MORE THAN 125,000 SIGNATURES, WHICH FORCED THE GOVERNMENT TO HOLD A REFERENDUM ON WHETHER OR NOT TO INCORPORATE THE CONCEPT OF BASIC INCOME IN THE FEDERAL CONSTITUTION.
” The most important shows on TV are the REALITY shows. Manufactured icons with very little cultural content to offer. We no longer have worthy cultural heroes and icons to look up to. They give us the Housewives, the Jersey Shore airheads, the Kardashians, Paris Hilton, and so on… “
– says Clayton Patterson and adds:
” Have you seen the New York Times piece about me? It was huge. But in a city of 12 million people who cares if someone’s leaving? It’s not about me, I’m just a symbol. It’s about the end of possibility for a lot of people. It’s about the loss of opportunity for the people who think like me.”
Did you do a hero act or any other creative action and nosed into any public gigs on the Downtown Manhattan during the last 25 years, at any punk rock bashes, a community board gathering, a poetry slam, a Santeria service, maybe you were at the tense Tompkins Square Park riot in 1983, at gay extravaganza or hanging on Bowery or Alphabet city, most likely you could be documented in Clayton Patterson’s archives. Clayton is a well-known L.E.S. social artist with long goatee beard, in biker-black outfits, with his own Cap’s design gallery and other innovative approaches, he is a faithful community man observing and supporting everybody’s validity with a still or video camera in the Downtown Neighborhood.
Fatefully with his companion, Elsa Rensaa, Mr. Patterson came to New York from Calgary, Alberta, in 1979. In 1983 they moved into 161 Essex Street, over a Hispanic dressmaker’s shop, and Mr. Patterson began devotedly documenting his new adopted quarter. Remarkably enough he became a weighty imprint of the L.E.S. district himself.
Probably the most relevant is to start our portrait talk with clapping our eyes on an enlightening historical remark that Clayton Patterson is the only enthusiast who recorded police battles with squatters and anarchists, most notably the exemplary clashes around Tompkins Square Park back in 1988.
Essentially Tompkins Square riot had a loud national resonance. Tragically enough by the confrontations which had happened there that day were effectively proving a phenomenal common usage of civil rights’ practice just by one established decision of L.E.S. community´s members who decided against local gentrification process.
The main reason of the many scandals after the riot was that the demonstration had been targeted by NYPD forces heavy abusing behaviors. By that way Clayton himself was arrested more than a dozen times during and after the battles all caused of his filming of factual police officers illegal acts, one of whom knocked out a couple of Mr. Patterson’s teeth with his baton.
Discovering of main point, we should recall for more details at the night of Aug. the 6th in 1983 at Tompkins Square Park, there were more than 100 people who showed up at the park to protest the curfew, drinking beer, lighting firecrackers and carrying banners with slogans like:
“ Gentrification is Class War.”
Dozens of officers were surveilling on foot and horseback fully armed, and around 12:30 a.m., someone in the crowd began throwing bottles at the police.
From then until sunrise, officers battled with the crowd in and around the park, with the protesters hurling bottles and other debris, and the police using nightsticks and riot gear. Forty-four people were injured, 13 of them were police officers.
Mr. Patterson and his camera were there throughout the process of police clampdowns on the area – a response to the area’s gentrification. He was arrested 14 times (and counting) for videoing and photographing in defiance of police orders.
A photographer Clayton Patterson, was capturing police officers, some of whom removed or covered their badges and nameplates, severely beating protesters and passers-by. One onlooker was Robert Arihood, who said he was attacked several times by the police. For him, the looming anniversary and attending fanfare was stirring up uneasy memories of lying injured and motionless on Avenue A as officers taunted him. He says:
“I couldn’t move, I thought I was going to die.”
DOWNTOWN 500 CREW IS HONOURED TO GET IN TOUCH WITH CLAYTON. WE’VE GOT A KUDOS PLACE ON #DT500REDSOFA JUST WITH HIM DOING EASY REASONING BY #DT50015MINOFFAME.
DT500ZINE: – How was L.E.S. NYC at the time you came there?
CLAYTON: – Elsa and I got to NYC in 1979. We lived in Brooklyn for 3 weeks and moved to 325 Broome Street. A tenement building with 4 floors with artists.The most well-known artist was Keith Haring– he lived above us. We were working as printers in a fine art print shop printing well-known artists works learning how to do photogravures, steel-facing and so on.
” Then I was starting to show it in ultra hip SoHo.., one-man shows.., and so on. Hated it all. “
DT 500 MAG: – That’s why you moved to L.E.S.?
CLAYTON: – I moved to Lower East Side in 1983. On our first night looking out the window we saw someone get shot and killed. We had around the clock drug dealings out front. But we loved the community and I spent years documenting it, making art, and involved in different kinds of community activism.
Over the years mr. Patterson has stored a huge archive that he estimates comprises hundreds of thousands of photographs, some 2,500 hours of videos and 300 audiotaped interviews etc…
“It’s empirical history, immediate history,”
– Clayton explained.
“I go where my nose leads me. It’s a wealth of material, but it’s one guy’s view of it. The history of the Lower East Side is dense, multicultural and diverse. There are multiple layers within the community. You had Jews, Asians, Puertoricans, Dominicans, avant-garde filmmakers, tattoo parlors, the gay clubs, the art scene. It takes having documented all these different circles to get how they connected.”
DT500ZINE: – You own the chronicles about the Downtown neighborhood, is there any work you would front on the top?
CLAYTON: – Court cases officially granting the right that video belongs to me – the artist. Collages, The Black & White Designs, sculpture and art that is still not understood… The archive.. so much is still under the radar… The rebellion aspect- so the 100’s of arrests… What was leading to the reorganization of the NYPD… I have many rare books… Clayton’s Caps… Handheld video footage… The Acker Awards… Masterpieces of L.E.S. original tattoo and its legalization story … The front door and window… MNN TV Shows… there is no top…
Extraordinary that local memorabilia of Clayton Patterson has many legacies; by using handheld footage – art-brutie Clayton was establishing a shaky-footage-way of filming what was further used in films such as Dr. Strangelove, Cloverfield, The Blair Witch Project and others. Clayton Patterson is also a provider of The Acker Awards, what is a tribute given to members of the avant-garde arts community who have made outstanding contributions in their discipline in defiance of convention, or else served their fellow writers and artists in outstanding ways. Acker Awards are granted to both living and deceased members of the New York or San Francisco communities.
” At that time recognized professionals used high-end, expensive, professional equipment. The professional camera people usually had a lot of extra baggage: a sound and light person, many heavy batteries, a large recording device, and a heavy, metal body, shoulder carried camera. My camera was light made of plastic, good in low light, built-in mic, used 2 hour tapes and was a consumer available piece of equipment! It was the first time such a camera was used in this kind of way. “
Clayton was also noted by coming as a Guest Star to Jochen Auer’s Wildstyle and Tattoo Messe. Starting in the mid-1980’s the Tattoo Society of New York-nurtured much of the NYC underground tattoo scene. Imagine, in 1961 it became illegal to tattoo in NYC… It was near impossible to learn to tattoo in NYC and there were just few shops with books and magazines. Clayton was also participating in Tattoo legalization in NYC. I´d like to note that during whole late 80’s and early 90’s next generation NYC tattoo wave came out directly from the underground Tattoo Society of New York. There were born tattoo-artists with loud names as Sean Vazquez, Michelle Myles of Daredevil, Paul Booth, Anil Gupta, Wes Wood. Clayton adds:
” The Lower East Side was crucible for creativity. Artists and intellectuals were drawn here because they could afford to live and create here. When Lou Reed moved here from Brooklyn in the ’60s, he rented an apartment on Ludlow Street for something like $38 a month. Now it’d be $3,000. I don’t think there’ll be anymore Lou Reeds on Ludlow Street. All of the geniuses who were here because of the cheap rents are gone.”
DT500ZINE: – Tell us about your involvement in the NO!ART movement?
CLAYTON:- After The 1988 Police Riot video case- I was held in contempt of court because the NYPD wanted to get my original videotape, I refused to hand it over. I fired the lawyer the city gave me and went pro-se. I wanted to speak for myself. Eventually went to State Supreme Court and I was handed a repeating 90-day sentence until I handed over the tape.
DT 500 MAG: – What did you say to them?
CLAYTON: – My position was: I am an artist, the tape is a part of my art, and my art belongs to me. I was sent to the Bronx House of Detention. I was under a system called Central Monitoring. I must have a ranking offcier escort me everywhere. The only other prisoner at the time who was under this system was Larry Davis. He had shot 6 cops. I went on a hunger strike. Got Lynn Stewart, William Kunstler and Ron Kuby as my lawyer. I won. It was after this that I met Boris Lurie. We had different politics but had a similar radical point of view relating to art.
DT 500 MAG: – You’ve got a Kompromat, right ?
CLAYTON: – Yes, for example: some of my court papers – One case was a federal one… dealing with an arrest, not mine, over a search at The Federal Building. Did one case with a college on the front. Government considered it a threat against the US Government. The judge agreed. Marshalls were sweet to arrest my friend at 4:30 in the AM, back in court I was told no more work on court papers. I handed in the next one saying you are wrong. Much of the imagery in this was from Boris’s NO!ART images. Boris Lurie in 1998 made me, as seen on the website, the head of NO!ART. West and Dietmar was the head of NO!ART East (Berlin). Boris and I argued about everything. But I loved Boris and Boris loved me.
Clayton explained in one of his interviews :
” Eventually I won my point, which was: – ” I am an artist and that tape is one of my art works and it belongs to me.” Yes, they can have a copy. I had a point of view and a reason to fight. On the Oprah Winfrey show I said: “Little brother watching Big Brother”. That was a big statement and millions of people saw that. It meant that any individual with a camera (which can be a power weapon used to protect one’s democratic rights) can hold the authorities and the police accountable for their actions on the street ! That was the beginning of a whole new digital age. “
By discovering the plenty facts about this fair fighter named Clayton Patterson it´s also important to remember him involving in NO!ART movement. It was a radical avant-garde anti-art movement started in New York in 1959. Its founders sought to deliver a shock to the complacent consumerist society around them.
The movement was initiated by over-mentioned friend Boris Lurie as well Sam Goodman and Stanley Fisher who had come together to organise exhibitions at the March Gallery NYC, first with the Vulgar Show in 1960. They gave the name NO!ART to the movement on the occasion of their show at the Gallery Gertrude Stein. They set themselves against the contemporary trends in Abstract Expressionism and Pop Art in art, and used their work to attack fascism, racism and imperialism in politics.
The NO!ART exhibitions bore titles such as the Doom Show, the Involvement Show, the No Show and the Vulgar Show. They were often scatological in theme with one exhibition, the 1964 No Sculptures/Shit Show featuring works resembling piles of excrement. The Holocaust was another recurrent theme and the artists sometime provocatively referred to their work as “Jew Art”.
In the essay named “Bull by the Horns” art critic Harold Rosenberg wrote:
“NO!ART reflects the mixture of crap and crime with which the mass media floods the mind of our time. It is Pop with venom added.”
DT500 ZINE: – What was the main agenda of NO!ART? Is it still current?
CLAYTON:- I believe it is still current. If I am still current. And beyond that I am not sure. Like no specific set of rules for shows I pick. I just come across what I come across I am going to shows. Far and few between.
DT 500 ZINE: – There were some radical people involved in NO!ART, what was your role in it?
CLAYTON: – This is a complicated question for me. I am not sure. After Boris died I was engaged in many conflicts with The Group BLAF who took it over. I felt they had deviated from what Boris wanted and I undertook to get it straight. Many long aggressive engagements.
DT 500 MAG: – Do you remember your first NO!ART shows?
CLAYTON: – Some artists I have shown: Boris Lurie– I gave the first NO!ART show in 25 years in NYC. Boris, now, finally, is being recognized as one of the most radical artists to deal with the subject of the Holocaust, Dietmar Kirves head of NO!ART East, I was a head of NO!ART West, Aronovici. There were graffiti: Dash Snow, Joey SEMZ (also music), and others in The IRAK graffiti crew- LA2 of Keith Haring fame- to illustrate how he got robbed by the large corporate art world machine- Genesis Porridge – Baba Raul Canizares (written numerous books- ) – Mickey “The Pope Of Dope” Cezar – Jose “Cochise” Quiles president of Satan Sinner’s Nomads ( book- ” Street Gangs of the Lower East Side” ) Art Party Pravda with artists like Konstantin K Kuzminsky (The Russian Anarchist published “The Blue Lagoon Anthology of Modern Russian Poetry”) Oleg Pinchevsky, Alex Shnuroff, Alex Zakharoff and so on..
DT 500 MAG: – Anybody from tattoo crew?
CLAYTON: – Yes, tattoo: Thom Paul deVita, Spider Webb, Charles Gatewood, and so on. I do remember Candy Darling’s drawings and diaries. Robert Lederman Giuliani show Taylor Mead, Peter Missing, Merle Hazard (Peter Missing Show Water Wars was written about in New York Times by Colin Moynihan Heather MacDonald and took real exception to the fact that the NYT would write a positive piece on Peter Missing. Her claim was Peter’s symbol was such an anti-gentrification symbol and was used by so many anarchists to represent anti-gentrification during the years of turmoil on the Lower East Side.
DT 500 MAG: – What about Heather MacDonald?
CLAYTON: – She wrote this article for The Manhattan Journal, in which she was an editor- a part of The Manhattan Institute was formed by William Casey when he retired from being the head of the CIA. Her article also appeared in The New York Sun. A short-lived right wing paper. Only show I had that the CIA was engaged in. Did have the New York Police Department try to set me with Rakowitz (labeled by press as Monster of Tomkins Square Cannibal case). And so on.
DT 500 ZINE: – Let’s talk about your own gallery, what is the concept of your Gallery & Outlaw Art Museum?
CLAYTON: – The basic idea behind the gallery was dealing with art that was outside the mainstream. Often art that dealt with issues related to the law. Did not have to be criminal. For example, art that had court cases attached to it – I had a number of court cases related to my work – mostly video or broke the law for example: tattooing was illegal in NYC since 1961, I showed work related to tattooing, graffiti art or conceptual art pieces related to drugs. Mainly work that questioned authority or work that was just unusual.
DT 500 ZINE: – Why did you start a gallery the first time? And why did you decide to restart it again?
CLAYTON: – I started the gallery to show what I wanted to show. I got involved with the band DAMEHT. They put together The $16 Burger Show. Later they pushed me to start the Caps again and to open the gallery.
After nearly 10 years of being closed to the public, the Gallery was opening its doors again with the same dynamic team who brought the $16 Burger Show, this first show was displaying original Caps and artwork from Patterson’s extensive archive. The storefront was showcasing the first 10 designs from the Clayton Cap Reissue project as well as original patches, books, and prints.
An the first culminating in May 2014, The $16 Burger Show was, in a sense, a reversal of this nature; not so much a return to one’s roots, as much as the roots reclaiming their own. The name $16 Burger Show was an ironic pitch of overpriced living standard of nowadays Manhattan.
DT 500 ZINE: – Which work of yours could tell the most by context of the rebel times?
CLAYTON: – The Caps kept Elsa and I alive for a time – the Caps became my art. I documented the neighborhood this is my art. Like the videotape- the tape is my art – and my art belongs to me. Same argument. I do not care that the establishment would not consider the Caps Art. My choice not theirs. MY life not theirs. My rules not theirs.
” I have always been an Outsider. Never fit in. My work is me and I am it. My life is art and my art is my life. It did take time for me to become “I”- Clayton. I did what I had to do to survive at the time. I am not a sculpture, a painter, a photographer, I am me – an artist.”
DT 500 ZINE: – Do you remember any good quote from the streets, from any of all the great men you had met during those honest times?
CLAYTON: – Not good at this one. I do remember Ray Beez from band Warzone saying:
” Don’t Forget the Struggle Don’t Forget the Streets.”
DT 50 ZINE: – Any details about the location of your Gallery?
CLAYTON: – The gallery is between Houston and Delancey. Forgotten part of the LES. Was not the cool East Village, or the stable Grand Street area. It was a drug haven. The graffiti was tags and no murals.
DT 500 ZINE: – I have heard about your “save NYC” call, how is it going?
CLAYTON:- I am not going to save NYC. I can only do my part in preserving what I have which shows what was happening in the past, the past that I was involved in. Only my part and my journey. Hopefully my point of view is educational and illuminating to others and helpful to those who are interested. For me, my duty to myself and Elsa is to find a way to survive and to become compatible with some of what is going on. I cannot just be against everything. I have to find a place for myself. I must carry on for both Elsa and I and the people who believe in what I do. I need to continue being creative. I need to believe in tomorrow and that what I am doing is important.
DT 500 ZINE:- What is important in a community?
CLAYTON:- Bad end of the working class- a sense of us against the world..
The statement of creation by Clayton Patterson as an example brings the state of the art discoveries in human capacity building to social transformation. He is a national social artist, an authentic art-brutie. He definitely deserves much more attention and more professional studying and publicity. His work of Social Artistry is evolving in granting perspectives. He is striving to provide a dynamic balance between inner understanding of life and outward expression. Clayton Patterson is one of the active archetypes of the Social Artist kind, who brings the focus, perspective, skill training, tireless dedication and vital vision of the artist to the social arena for the talent to function. Humanity should learn that the Social Artist’s medium is the community’s creative potential realization. Like Clayton, each of us should also seek innovative solutions to troubling conditions, we civilians should be a lifelong learners ever hungry for insights, skills, imaginative ideas and deeper understanding of present-day issues of visionary degradation.
” If you stop the possible emergence of a Jackson Pollock or a Jimi Hendrix, you’re killing the future. They came from the ground up. They didn’t come from the top. The top doesn’t tend to produce great stuff. So to answer your question, it is not me who is killing the American Dream. It is the take-over by major international corporations. I differ from the people in power who say corporations are people. Corporations are not people. “
DT 500 MAG: – Dear Clayton, I´m asking you the last question, at this outstanding moment in many ways. The great hard-working American Nation had voted in the end of 2016 and against all odds mr. Trump will be inaugurated on the 20th of January for good or for bad? What is on your mind, Trump vs future?
CLAYTON: – Trump showed how dysfunctional, corrupt, incompetent, lazy, politicians and the media are today and how out of touch they are with the American people. And even now, after the election, the politicians and the media still does not understand the pain and suffering that is going on in the Sates. The death of the middle-class and the brutalities of the poor, are only two glaring examples. After Obama and now Trump, who both represented change and how much hurt, dissatisfaction Americans have towards the system, add in Bernie and we have to understand these are dangerous times. Something negative is bound to happen. Especially after people realize Trump is only selling a dream and has no desire to fulfill his promises. Hang on, I just hope the ride is not too rough.
DT 500 MAG: – Thank you Clayton, our greatest pleasure to have your expert meaning on our project. Kindly regards from all the Downtown 500 crew! Rapture!
The conclusion of The Downtown 500 Project is about the raw manifestation of Social Artistry and its natural members. We are widespreading – social artistry as a Contemporary Profession. We are living in the time of a choice point for a stimulation of the evolutionary or devolutionary process. As either the neurons or the cancer of the civilization, we are now aware of the tremendous responsibility that is ours: the capacity to direct improvement or the destruction of ourselves, the Earth, and all its creatures and forms. This new profession addresses the training of people who agree to this challenge and who have the maturity, initiative and vision as well as a temper for making a difference in the whole domain of human affairs. It requires major courage for what is being formed that is possibly a movement as deep as it is outreaching in its implications for proactive social progress. Mr Clayton Patterson is still engaging valiantly exactly for this reason. He is a living adventure who we should recognize as a hard-way example to self-realization /actualization and human content fulfillment by self-transcendence. We should never forget his brave heritage and do the most to organize the new social order for more satisfying practice of creativity. A. Maslow said in his work Motivation and Personality:
” What a man can be, he / she must be.”
Each of us should pay the sharpest attention to social lacks of governmental contribution today and redesign it for more complete constitutional system for more effective supports of individual freedoms.
There had been usefully launched on the 1´st of January 2017, The Finnish BASIC INCOME EXPERIMENT. There are being conducted among 2,000 persons between ages 25 and 58, who will receive a monthly basic income of €560 for two years. The experiment will be implemented by KELA – the Finnish Social Insurance Institution. We should promote BASIC INCOME innovation more widely as it is taking place in Finland, Switzerland and Belgium.
Philippe Van Parijs has argued that BASIC INCOME at the highest sustainable level is needed to support real freedom, or the freedom to do whatever one “might want to do”. It also means that all people should be free to use the resources of the Earth and the “external assets” people make out of them to do whatever they might want to do. Money is like an access ticket to use those resources, and so to make people equally free to do what they might want to do with the external assets of the world, the government should give each of individuals as many access tickets as possible—that is, the highest sustainable BASIC INCOME.
BASIC INCOME is needed to protect the POWER TO SAY NO!, which is essential to an individual’s status as a free person. If some other group of people controls resources necessary to an individual’s survival, that individual has no reasonable choice other than to do whatever the resource-controlling group demands. Before the establishment of governments and landlords, individuals had direct access to the resources they needed to survive. But today, resources necessary to the production of food, shelter, and clothing have been privatized in such a way that some have gotten most of the share and others have not. Therefore, this argument goes, the owners of those resources owe compensation back to non-owners, sufficient at least for them to purchase the resources or goods necessary to sustain their basic needs. This redistribution must be unconditional because people can consider themselves free only if they are not forced to spend all their time doing the bidding of others simply to provide basic necessities to themselves and their families. Under this argument, personal, political and religious freedom are worth little without the POWER TO SAY NO!. In this view, BASIC INCOME provides an economic freedom which, combined with political freedom, freedom of belief, and personal freedom establish each individual’s status as a free person.
Clayton clearly notes:
” The small independent restaurants and coffee shops is where the energy got generated and ideas came together. Like when you are creating the magazine, you don’t do it by yourself – there is a bunch of people talking: let’s make a magazine! How can we make a magazine? Oh, I don’t know, you do this and I’ll do that. Oh, I found a printer, oh I can write, this guy takes pictures – it’s an energy, it’s not from the rich people, or intellectuals, it’s from the bottom, the ideas and the pushing and the turning… And that’s where the greatness comes from. Otherwise the magazine wouldn’t be there. “
Clayton Patterson is obviously an organic superhero, a rough survivor and a hassling illustration right here before our tired eyelids. He is the most observant of us. All together we must promote the value of supporting and look to such a rebel type of individuality like Clayton Patterson is.
” Solidarity and Openness ! “
Still today Clayton is working in his community by supporting the young generation of Downtown Manhattan. This time Clayton does curration for a young band named DAMEHT. Mr Patterson stands for DAMEHT as Andy Warhol did for the Velvet Underground. Clayton behaves as an artistic ringleader, his work and experience is the genuine foundation for this upcoming band to build its brand upon. Lou Reed with band members haunted Warhol’s Factory throughout the ’60s, DAMEHT’s Rivington Starchild, Roman Lewis and Lucas Garzoli all center today on Patterson’s longtime Lower East Side home, The Clayton Gallery & Outlaw Art Museum.
DAMEHT guys about Clayton:
“He embodied in his work what a lot of people strive – to be themselves even in hard times – with an oppressive force behind him which tried to push him out from remaining true to himself.”
Interview / text by Arthur Sopin
Photography by Clayton Patterson, Johnny De Guzman
Special thanks to Andreas Roed, Liz Cornine, Justin Moran, Jorge Liloy, Solva