In the middle of High Street’s bustling, art-centered strip sits a gallery unlike any other. Everything displayed at Studios on High has perfect synergy. The set up is simple and fresh, making it difficult to believe there are 17 artists’ works represented at all times.

The collective’s mission – conceptualized by Judy Hoberg, who still manages the gallery, and Bonnie Valentine – has been meticulously followed since its inception, perhaps explaining its 23-year lifespan.

The Rules
Artists in the collective pay membership dues, rent wall space (based on square footage and location), and work six hours a week and three gallery hops a year. They’re also expected to demonstrate their artistic process, compromise and be a team player, and create work that is visually compatible with the other artists – without dipping too deeply into anyone else’s niche.

Studios on High boasts everything from oil paintings and watercolor to jewelry and glass. It is an truly an aesthetic wonderland.

The concept is the brainchild of Judy Hoberg, who still manages the gallery and displays her whimsical stoneware garden sculptures, and Bonnie Valentine, who is retired.

“A couple of ceramic artists and Ruth Lance originally rented this as a studio space. When the ceramic artists left, Bonnie and I came in and formed the co-op,” Hoberg says. “We started with five artists. A few years later we had seven, then 12. We’ve had 17 since 2001.”

A Community
Seventeen has been the magic number to fulfill her original vision, which entailed balance, visual variety and flexibility in staffing. The model appeals to many outsider artists who inquire about joining.

“I’d say we get at least five drop-ins a week asking how to join and many, many more asking to join online,” Hoberg says. “When we send them our requirements, that’s when a lot of people lose interest. It’s not that our requirements are difficult, it’s just hard to compromise and here they need to compromise.”

Compatibility with the other collective artists and the ability to work and balance with them are the top priorities. Artists will not be able to display everything and will have limited wall space based on what they rent.

“If we display too much, it won’t look good. Also, we really measure whether or not the art will even fit in here, with subject matter and color palates,” Hoberg says. “We want all of our artists on equal footing and if it’s too bright or too big or too whatever, then it will not be consistent with our other displays.”

Finally, artists have to commit to their dues and work hours for one year. All artists are exhibited at all times and a display committee decides what pieces rotate in and out of the front window each month. Artists are asked to present new work every two months to switch up the gallery’s presentation.

They’re also asked to create art while they’re working, as part of the gallery’s educational outreach objective.
“That is a big advantage to this co-op – artists can create while they’re working, so it’s not lost time. I can’t think of any other gallery in the area where you can walk in at any given time and ask an artist about their creative process at any given time,” Hoberg says. “It helps the artists connect and educate the community and we’re proud to have that level of professionalism.”

Longevity
The collective’s business model is extensive and details sometimes change as the artists’ personalities change. However, the fee and display structure hasn’t budged, which Hoberg believes is a big part of why Studios on High is still viable after years in a fickle market. The other reasons for the collective’s longevity include community growth and a genuine appreciation for original art.

“There were nine restaurants in the Short North/Arena District area when we started. Now there are so many I lost count. There wasn’t a convention center down the street, so that helps bring in out-of-town buyers. And look at all of the galleries and the success of the Gallery Hop. People come to the area from suburbs who never would have before,” Hoberg says. “The more art we have in the city, the better off we are.”

Hoberg has a lot of pride when talking about how far Studios on High has come. In the future, her goals are to see the gallery sustain itself with the artists running the business upon her retirement. When that retirement will be, however, isn’t quite so clear.

“I think we’ll get to the point where everyone is equally running the ship. It’s good for the ship to work constructively,” Hoberg says. “I’m not the same person I was when I started this. I’ve grown so much and have since gotten my master’s in business and psychology. Retirement is not on my mind right now because I don’t want to live without this space and these artists.”

For more information about the Studios on High artists and their work, visit www.studiosonhigh.com.

Alicia Kelso is editor of CityScene.