A couple days ago I received an invitation to Mahan Gallery’s March art opening. My eyes popped when I opened the envelope. The featured artist: Ric Ocasek. My first thought was: “How many Ric Ocasek’s can there be?” A product of the ‘70s and ‘80s, I immediately associated R.O. with the Cars, even hearing a bit of “Just What I Needed” in my head. It couldn’t be the same guy. And yet, when I turned the invitation over, there was the confirmation. Step One… I immediately called and rsvp’d. Step Two… I pondered why Ric was dabbling in art. I wondered how many people would show up purely because of the fanboy effect, and how many would be there for the art. That led me to a question of celebrity and commercialism versus authenticity. So before I dug myself a deeper hole, I called Jacquie Mahan (gallery proprietor) and scheduled a chat on the subject.

And I was glad I did.

We sat at Jacquie’s desk (pure white, blending in with the white exhibition walls) at the back of the gallery. Before jumping in to the obvious questions I thought I’d start with a bit of focus on the gallery itself.

JA: What is your philosophy about art and your gallery?
JM: I want to keep it real. Accessible. Honest. We are a highly contemporary gallery. We take a lot of risks and they usually pay off.

JA: So it’s not always a formal or traditional installation?
JM: We do feature traditionally hung shows, but it’s also fun to do something non-traditional. Artwork doesn’t have to be so serious. Sometimes it can be really fun. We support young artists as well as high-profile artists. In June we have an exhibit with the architect, George Acock.

JA: How serious are you about the gallery experience?
JM: I take artwork seriously, but I don’t take myself so seriously. I’m always open to learning, to hearing new ideas, and to experiencing. I think Mahan Gallery stands out with a very different gallery formula in Columbus. There are a lot of “art shops” out there filled with pieces to sell. Our gallery is attention driven. We embrace a theme. Make it intense. Make it an experience. We want the gallery to be a destination apart from other galleries.

JA: Give me an example of “experiential.”
JM: One of my favorites was our Maya Hayuk installation. Maya is from Brooklyn and has been to Columbus several times. She came to do a solo show at our gallery. We gave her the entire space. She simply took over. Paintings. Photos. She even painted pieces directly on our walls. Not on canvas, on our walls. It was completely immersive. If you didn’t see it at the gallery, you wouldn’t see it anywhere else. When collectors entered the door, they could instantly feel the art. There was even an opportunity to take self-portraits with the art via a ripcord - camera mechanism Maya installed. Fully engaging. It was a risk. And we liked taking it.

JA: So let’s talk about Ric. How did you get him to make his first gallery appearance at Mahan?
JM: It’s funny. People are going to think it’s only because he’s my father-in-law, but that’s not the whole story. It took years to gradually convince him to take this step. Yes, I had an inside track, but the biggest factors were probably the quality of our gallery, including our website, and his trust in how we would handle the installation. In the end, he decided to let us install the exhibit.

JA: So you made a proposal to Ric and here we are.
JM: Not nearly. It took five years of putting seeds out there. I saw Ric’s work for the first time on a beach trip. My husband Adam said: “You have to go see my dad’s work. It’s really cool.” From that point I began telling Ric: “You’re really good at this. You should share it with others.” We never went much deeper than that, and I decided not to push it. I just kept putting it out there. One day Paulina said: “You should talk to him about an installation.” She’s the one who really gave me the signal to make the ask. So I broached the subject. Ric simply said: “When are we having a show?” I said 6 months. “Okay. How many pieces?”  I suggested 50 - 150. Ric responded: “I’ll send you more.” That was about the extent of the conversation once we got over the hurdle of having the exhibit. So it was a lot of being patient. A lot of saying the right things at the right time. And having no ulterior motives. When he picked Mahan I was really happy, but if he had picked somewhere else I still would have been happy to see the works finally displayed.

JA: So here’s the rub. Is this really about an artist or an insanely famous guy?
JM: This installation is about the person. When it all gets peeled away, (the rock icon, my father-in-law, Adam’s dad, Paulina Porizkova’s husband) what’s left is some amazing artwork. The artwork speaks for itself. Ric’s work is really personal. It’s real. He makes his work for himself and by himself. Being around him at family functions I watch how he works. He sits by himself and starts creating. He’s no longer in the room. He’s by himself. I see that zoning out in Adam as well. I find the work very vulnerable. It’s a self-portrait. Think about it. If you made something never intending for others to see it, you make it real. You make it the way you want it to be. You’re not thinking about how others will react.

JA: So what is Ric’s inspiration?
JM: Ric views his work as a visual form of his music. He calls it the visual noise going on in his head. That’s where the name of the exhibit came from: Noise Colored Party. There is a rhythm and a tempo to every thing you will see.

JA: And what can we expect from Noise Colored Party?
JM: Ric works with markers, pen, and pencil on paper… some even on his letterhead from Elektra Records. There are also photographs, paintings and paper collages.

JA: Is there a theme or message in his work?
JM: Ric is very abstract. You can’t sum him up. His work is what it is. You can’t say it means anything specific… it means everything. If anything, it’s a stream of consciousness show. It’s a product of what people do when nobody’s looking. He’s really being himself.

JA: So this is a big deal for him to take this step with Mahan?
JM: It really is. It shows how paralleled he is. Keeping to himself all these years and now opening up to share his work.

JA: Did he have specifications about the installation?
JM: He said: “Make the installation look like music.” There will be 171 pieces for the show, maybe 175 if we get the four additional paintings I would like to include. The whole place will be totally saturated in crazy drawings.

JA: Will the works be for sale?
JM: Yes.
Photographs $800 - $1,200
Drawings $800 - $2,200
Paintings $2,500 - $5,000

JA: How is Ric feeling about his decision now that the opening is less than a month away?
JM: He is taken aback that people are interested in the pieces. He’s flattered that people like them so much. I don’t think he gives himself credit for his talent. To him, this is his knitting. Paulina is a knitter. She knits every night. I like sewing. We all have creative outlets. His is art.

JA: So what’s left to be done for the installation?
JM: Tons! We pick up the framing supplies on Friday. We will be building new frames for every single piece. Ric is a perfectionist. Each work is float mounted and placed on tiered matting. We will be working nonstop March 1 - March 5. It will take a really long time, but it will be totally worth it.

JA: How has the community reacted to news of the debut?
JM: I think people of the 80’s, people who love his music are particularly excited. They have an affinity for him, they relate to him, they want to know more about him. There has been a lot of support and expectation.

JA: One last question. How did Mahan Gallery end up in Columbus… in the Short North?
JM: I have family here. But that’s not enough. More importantly, Columbus is a viable community. I came to the SN because the rent was cheap. I liked the area. I liked the mix. I felt grateful to get established. There was no other choice. I wouldn’t have thrived the same way anywhere else… it’s a community where we keep it real.

_________________________

Noise Colored Party

Ric Ocasek

Solo Exhibition

March 6 - April 25, 2009
Invite-Only Reception: Fri., March 6
Gallery Hop: Sat., March 7, 6-10p

Mahan Gallery • 717 N High Street

In retrospect, I probably sounded a bit like a pickup artist at the February Hop. I spent a few hours touching base with visitors, asking them a variety of questions… innocuous little tidbits like:

Where ya in from?

What’s been your favorite stop so far?

Come here often?

You can find out a lot that way. For example, the Short North is probably the number one place locals bring out of town guests… particularly if it’s a Hop. Or, that about half of our visitors have never walked north of 1st Avenue. These folks are missing some amazing destinations that have blossomed “way up in yonderland.” More on that later. Or, Saturday’s a-ha moment: visitors WANT to find the galleries, but they need help.

Maybe we (the district) take it for granted that everyone knows where everything is. After all, we all know where Rivet and Terra and Lindsay galleries are located. Right? So when we say “come visit the galleries during Gallery Hop,” it seems like a sincere enough invitation. And that the galleries are distributed over a mile-long stretch shouldn’t seem daunting. Right? Wrong. The reality, as I found on Saturday, is that thousands and thousands of visitors make their way for a monthly sojourn they thoroughly enjoy… but have no idea they haven’t quite maximized.

Well no more! The Short North is too much of a treasure to not explore it completely. Beginning with the March Hop, we will introduce the Gallery Hop Gallery Locator. This pocket fold map will be available online at shortnorth.org, at galleries, and at a variety of shops and restaurants. I’m very excited about its addition to the Hop experience. It will undoubtedly impact the experience (in a very good way) for many, many people.

Additionally, the district is in the process of designing way-finding kiosks that will help even the seasoned expert uncover heretofore overlooked district nuances. Look for more on that front in April/May.

And in the spirit of moving things right along, below is a roster of the galleries you’ll want to add to your March Hop experience. The list is organized from north, around High and Fifth, to south, across from the Convention Center. How many have you visited in the last 6 months?

Rivet • 1200 N. High (near Fifth and High)

Rebecca Ibel Gallery • 1055 N. High (at 3rd and High)

Roy G Biv Gallery • 997 N. High (at 2nd and High)

Lindsay Gallery • 986 N. High (near 2nd and High)

Ohio Art League • 954 N. High (near 2nd and High)

KIACA Gallery • 937 N. High (near 1st and High)

pm gallery • 726 N. High (at Buttles and High)

Mahan Gallery • 717 N. High (near Buttles and High)

Marcia Evans Art Consulting and Gallery • 8 E. Lincoln (Lincoln and High)

Palnik Cartoon Studio • 14 E. Lincoln (Lincoln and High)

Sharon Weiss Gallery • 20 E. Lincoln (Lincoln and High)

Sherrie Gallerie • 694 N. High (near Brickel and High)

Studios On High Gallery • 686 N. High (near Brickel and High)

The Art Exchange • 17 E. Brickel (at Brickel and High)

Kathryn Gallery • 642 N. High (at Russell and High)

Terra Gallery • 8 E. Poplar (at Poplar and High)

Elements of Art / Art Space • 507 N. High (near Swan and High)

Last night Juli Rogers and I kicked off the weekend going to a reception at Rivet Gallery. Laura and Scott Kuenzli were launching one of the more “unique” art exhibits we’ve had in the District for a while: Darkness Into Light. We strolled in around 7:00. Things were just getting started. Laura was engaged with a few other early arrivals. We made our way to the bar set up for this special reception, grabbed a Magic Hat pils and some noshes courtesy of Barrel 44 and slowly began taking in the experience.

The exhibition features selected images from “counter culture” photographers Jeffery Scott, John Santerineross, Robyn Von Swank, Silent View and Chas Ray Krider. The images, most with mature themes, range from ethereal, hazy black and white to ultra crisp, vibrant color. There is a spiritual quality to the collection. Subjects touch on relationships, dreams, role playing and fetishes. Each image carefully stylized by the artist. As fascinating as the photos were, however, the centerpiece of the exhibit was the object d’art created from the skull of a 500 year old Tibetan monk.

To call Yama, Tibetan God of Death a pin-hole camera is rather like calling La Sagrada Familia a building. Yama, created by Wayne Martin Belger, is truly a labor of love and an amazing work of art. It has to be studied slowly to appreciate the astounding design, the quality of the craftsmanship and the exquisite materials, including: turquoise, sapphires, opals and rubies in addition to metalwork interfusing brass, gold, silver, and titanium among others.

As we absorbed the detail of the piece and beauty of the exhibit, a thought entered my mind: “How far the north end of the Short North has come these last 10 years.” Where once primarily thrift shops and empty store fronts dominated, now avant garde businesses such as Rivet are taking hold. You see it in Milk Bar (one of Columbus’ fashion hot spots directly across the street). You see it in What the Rock?! and Surly Girl. Even Monkeys Retreat is getting a makeover. Throughout the area experiential destinations now anchor the north end of the district: Skully’s, Liquid, Bodega, Yoga On High, Byzantium, the list goes on.

As the Jackson on High continues to spring forth (at 4th and High), is there any doubt that the north end will soon be rivaling the south end for the center of attention?

With Rivet setting the standard this weekend, I have no doubt. This Gallery Hop, treat yourself to a new view. Head north.

Darkness into Light will be on display from February 7 - 28. Due to the sensitive nature of Wayne Martin Belger’s work, the Yama showpiece will only be on display each Saturday until the show closes. For a private viewing of the piece, please contact the gallery.

Rivet: 1200 N High St • 614.294.8697