Gallery 1516 emerged in 2013 to address a gap in supporting Nebraska and regional artists distinctively. Gallery Director Patrick Drickey envisioned a space that not only displayed art but actively engaged with the community. 

Setting itself apart, the gallery collaborates with entities like the Museum of Nebraska Art in Kearney, also known as MONA, bringing diverse exhibitions to Omaha and contributing significantly to the city’s cultural fabric.

Approaching Gallery 1516, visitors confront a substantial, weathered door, demanding a firm pull—an initiation into the raw and authentic atmosphere within. The architectural allure is defined by soaring ceilings, creating a sense of openness and freedom. The building’s industrial past is honored through garage-door-style windows that generously welcome natural light, blurring the boundaries between the gallery and the outside world, offering an immersive art experience.

Drickey passionately articulates the gallery’s mission, emphasizing its unique commitment to Nebraska artists spanning various disciplines. The curatorial approach encompasses four key disciplines: music, architecture, visual arts, and literature.

The unexpected integration of music into the gallery’s offerings has been met with resounding success within the local community, fostering cross-disciplinary artistic experiences.

Dr. Washington Garcia, who was the School of Music Director at the University of Nebraska-Omaha at the time, attended an event at Gallery 1516 and asked Drickey if he had the room measured yet.

“Of course, the dull wit that I am, I told him the gallery is 66 feet this way and 72 feet that way,” Drickey laughs. 

Dr. Garcia advised that Drickey get the room measured for audio and acoustics, recommending a company that later came in and set up eight microphones throughout the space. They walked through the building, clapping their hands and clanging a gong to gauge the sound quality inside. 

“When the employee came back to his computer, he asked me who did our audio engineering,” Drickey notes. 

Detailing the history of the building, Drickey explained that originally, it was a livery stable dating back to 1883. The building underwent transformations in 1925 which took out the second floor, and it became a repair shop for International Harvester. Later, the property was acquired by the Kraft family who housed Ollie the Trolley in the building. Drickey and his wife Karen entered the scene in 2000, purchasing the building, unaware of its acoustic potential.

“He told me we could spend a few thousand dollars to perfect it, but that he didn’t expect it to move the needle by much,” Drickey reports. “He said, ‘Just start your music series, this is an incredible space for music.’”

The integration of music into the gallery’s offerings has resonated deeply, with programs like “Bagels and Sometimes Bach.” These free events take place on Sundays, offering complimentary bagels, fruit, coffee, and orange juice, showcasing the gallery’s commitment to cross-disciplinary partnerships with organizations such as Opera Omaha, Omaha Chamber Music Society, and UNO students, providing accessible cultural experiences.

“Music is the one art that touches everyone–it’s the ultimate communicator,” Drickey expresses. 

Resurrecting a tradition that originated at the Joslyn Art Museum in 1932, Gallery 1516 hosts two distinctive biennials, which are juried exhibitions operating on a two-year cycle. 

The Nebraska Biennial, launched in odd-numbered  years, not only honors Nebraska artists but also embraces various disciplines including paintings, photography, sculpture, mixed media, and more, ensuring a comprehensive representation of the state’s vibrant artistic landscape. 

In contrast, the Regional Biennial takes center stage during even-numbered years, focusing specifically on photography. This deliberate alternation creates a dynamic rhythm, allowing the gallery to delve into different facets of the art world, catering to both local and regional talents. Any state that touches Nebraska is eligible to show at Gallery 1516. 

“The only caveat is all works have to be available for sale,” Drickey confesses. “That’s important because I think what artists forget about is there’s a third partner in a gallery-artist relationship, and that’s people who collect art.” 

Deviating from the conventional practice of charging commissions on artwork sales, this decision echoes the gallery’s commitment to its mission of supporting and promoting artists. By refraining from charging commissions, Gallery 1516 creates a more equitable space, where artists can present their work without the financial burden of additional fees. 

“That’s a big rule that we broke,” Drickey admits. “Finding other galleries to participate, with the understanding of what we’re doing, has been an eye-opening process, but in a good way.” 

When pitching participation from other galleries, Drickey poses one question that usually seals the deal: If you had an artist in your stable that was offered the opportunity to participate in a show at the Joslyn, wouldn’t you encourage them to take it? 

“That just pulls everything into perspective,” Drickey observes. “Rather than acting as a competitor, we can widen the horizon for the artist, because more people will see their work here than will see it in a selling gallery.” 

Gallery 1516 has exceeded all expectations that Drickey had when launching the non-profit. The gallery operates with 30-plus volunteers who all share the same values of collaboration above all else. 

Drickey gives thanks to the School of the Arts at UNO, spearheaded by Dr. Amy Morris, who has provided almost all the gallery’s interns throughout the years. The School of the Arts program goes beyond simply training an artist how to paint. The program also focuses on art history, the curation process, and other vocations in the art world. 

“I look at the art world as a multifaceted diamond, if you will, but if you’re only looking at it from one point of view, all you see is artists who are doing abstract expressionism,” Drickey illustrates. “I really feel that UNO’s program has addressed that.” 

Looking ahead, the gallery envisions growth under Deputy Director Sara Bihlmaier’s leadership, ensuring a sustained legacy of excellence. 

“Sara is my touchstone for all things,” Drickey boasts. “She knows grammar, she knows how to treat people, she’s like a perfect person—what can I say?” 

Reflecting on the journey, Drickey discusses economic challenges faced by 501(c)(3) organizations, highlighting philanthropic support crucial in navigating these challenges. 

Engaging with the gallery’s diverse programs, attending exhibitions, and contributing to its fundraising efforts all play vital roles in sustaining this community-driven initiative. By actively participating in the artistic endeavors facilitated by Gallery 1516, individuals not only support local artists but also become contributors to a flourishing cultural ecosystem that continues to shape the artistic landscape of Omaha. 

“I feel so lucky that we got this property and it’s turned out to be such a fantastic experience,” Drickey states with gratitude. “Although, I will add a footnote. Be careful what you wish for—It may all come true.” ◆