Photos and interview by Stacie Joy
When artist Glenn Booth moved to 50 E. First St. in the early 1980s, half the buildings on the block were burned out, and the street was, as he recalls, one of the city's biggest heroin markets.
More than four decades later, Booth is still here, creating art in a basement studio next to OSMOS gallery. The space is filled with artwork, materials and reminders of the neighborhood's past, including an old Tower Books backing and references to long-gone East Village galleries.
Known for his masks made from recycled bicycle helmets, Booth has also been creating concrete paintings — substantial pieces that can weigh 70 pounds or more.
We visited Booth to talk about his early years in the neighborhood, his evolving work and the serious injury that has made the physical demands of creating art more difficult.
How long have you been creating art in this space?
I bought an apartment upstairs in the early '80s. I've been in this building since then.
When I moved here, I was married, and this block was one of the biggest heroin markets in the city. Half the buildings were burned down or burned out.
At first, I had another studio down on Canal Street. Then this spot opened up, so I rented it from the co-op. I've been working here since probably the early '90s.
I went to Wayne State University [in Detroit]. After I graduated, I didn't have money, so I worked in an auto factory outside a foundry.
Actually, it was the same company my great-grandfather had worked for.
Shortly after I graduated, I was included in an art show at the Detroit Institute of Arts. I was 21, and I found early success.
I had a lot of shows in Michigan. Then, when I moved to New York, I was in a lot of local group shows.
I'm familiar with your masks made from recycled bicycle helmets. Are these concrete paintings a departure from that work?
No, they're still concrete paintings. It's concrete, although cement is the binder. They're all concrete frames.
Have you exhibited these pieces?
Not really. I've never shown most of them.
A couple of years ago, I had an open studio, so I showed a few. But I was showing other work, too.
Would you consider opening the studio again so people could see them?
Yeah. I'd rather show them in a gallery space, though, because it's cleaner and bigger.
These paintings have two layers of concrete. Most of them weigh around 70 pounds or more. Some of the smaller ones are lighter.
That must make them difficult to move, especially after your injury. What happened?
Five and a half years ago, I was working on a makeshift scaffold, and the board broke. I fell about 12 feet onto my left foot. It basically shattered my ankle and lower leg.
I almost lost my foot, so I'm grateful I can walk. But since then, I've had six operations.
How has that affected your ability to work?
It's one of the reasons I can't lift heavy things anymore.
My ankle is fused, so I don't have any mobility in it. That leg is also an inch and a half shorter. I use a cane now.
I've had a lot of complications, including infections. I still have hardware in my leg supporting it.
But I'm fortunate.
You saved some of the hardware that was removed during your surgeries?
Yeah, I asked!
The surgeon said sure.
But when I went to pick it up, the person in charge asked, "Why do you want this?"
I said I was thinking of making art with it, but I'm not sure if I will.
I rode bikes, and I'm starting to again.
Carefully.
You can see more of Glenn Booth's work on Instagram.
