HomeMy WebLinkAbout2022-02-24 Arts & Commission Meeting PacketAgenda
Arts and Culture Commission
City Of Edina, Minnesota
Virtual Meeting: WebEx
This meeting will be held electronically using Webex software. The meeting will be streamed
live on the City’s YouTube channel, YouTube.com/EdinaTV or you can listen to the meeting
via telephone by calling 1-415-655-0001, access code 2455 941 8533
Thursday, February 24, 2022
4:30 PM
I.Call To Order
II.Roll Call
III.Approval Of Meeting Agenda
IV.Approval Of Meeting Minutes
A.Minutes: Arts and Culture Minutes January 27, 2022
V.Reports/Recommendations
A.2022 Work Plan Updates
B.Pottery Forward Facility Report
C.Annual Elections
VI.Chair And Member Comments
VII.Sta/ Comments
A.Upcoming Meetings and Events
VIII.Adjournment
The City of Edina wants all residents to be comfortable being part of the public
process. If you need assistance in the way of hearing ampli1cation, an
interpreter, large-print documents or something else, please call 952-927-8861
72 hours in advance of the meeting.
Date: February 24, 2022 Agenda Item #: IV.A.
To:Arts and Culture Commission Item Type:
Minutes
From:Laura Fulton, Recreation Supervisor
Item Activity:
Subject:Minutes: Arts and Culture Minutes January 27, 2022 Action
CITY OF EDINA
4801 West 50th Street
Edina, MN 55424
www.edinamn.gov
ACTION REQUESTED:
Approve meeting minutes from January 27, 2022 Arts and Culture Commission Meeting.
INTRODUCTION:
Meeting minutes from the January 27, 2022 Arts and Culture Commission Meeting
ATTACHMENTS:
Description
Minutes: Arts and Culture Minutes: January 27, 2022
Draft Minutes☒
Approved Minutes☐
Approved Date: Click here to enter a date.
Minutes
City Of Edina, Minnesota
Arts and Culture Commission
Virtual Meeting: WebEx
Thursday, January 27, 2022
I. Call To Order
Chair Sorensen called the meeting to order at 4:30 p.m.
II. Roll Call
Answering roll call were Commissioners Fram, Stemmler, Suckow, Chandler, Rubin, Johnson and
Westlund; Student Commissioners Anand and Shen; and Chair Sorensen.
Staff Present: Parks and Recreation Director, Perry Vetter, Parks and Recreation Assistant Director Tracy
Petersen, and Recreation Supervisor, Laura Fulton.
Commissioner Amlaw entered the meeting at 4:40 p.m.
III. Approval Of Meeting Agenda
Motion made by Chandler to approve the January 27, 2022 meeting agenda, seconded by
Westlund. Motion carried.
IV. Approval Of Meeting Minutes
Motion made by Westlund to approve the December 16, 2021 meeting minutes, seconded by
Rubin. Motion carried.
V. Reports/Recommendations
A. 2021 Work Plan Updates – Review and Evaluation of Virtual Gallery
• Commissioners Fram and Stemmler presented an overview, results, key takeaways from
the virtual gallery project and recommendations.
• Committee reviewed and discussed project report.
B. 2022 Work Plan
• Initiative #1: Implement Year 2 of the Public Art Plan: the Mandala Digital Public Art
Project and digital mapping.
o Chair Sorensen discussed initiative timeline and mandala community art opportunity.
• Initiative #2: Research and make a recommendation for a microgrant process for
community driven Arts & Culture.
o Chair Sorensen informed commission about meeting with Community Foundation
representative Dick Crockett about initiative on February 8, 2022.
• Initiative #3: As a new art space is pursued, the commission will provide the community
perspective to the planning process.
o Commissioner Chandler presented feedback on committee meeting with consultant,
Sara Peterson.
Draft Minutes☒
Approved Minutes☐
Approved Date: Click here to enter a date.
o Director Vetter discussed that the consultant’s full report will be presented to
commission at February meeting.
o Commission Westlund offered feedback on consultant meeting.
o Director Vetter discussed current Art Center closure and addressed email
comments from residents.
o Commissioner Westlund volunteered to address email correspondence about Art
Center.
• Initiative #4: Climate Change Public Art in the Parks for Earth Day 2022
o Chair Sorensen and Commissioner Johnson discussed initiative and meeting with
Project Earth at the Edina High School to partner.
o Student Commissioner Anand presented student vision of initiative.
• Initiative #5: Joint Sponsorship of Performances on the Plaza Summer Concert Series 2022
o Chair Sorensen discussed that we are waiting for an update on programming at 50th
and France in 2022.
• Initiative #6: Review and comment on art and décor elements & programming for the
Edina Theatre.
o Commissioner Rubin will be reaching out to the new contact at the Edina Theater to
discuss opportunities.
• Director Vetter reminded Commissioners that timeline may need to be adjusted as
operations have been impacted due to the pandemic and staff are stretched. Any clarity
on initiatives should be sent early to ensure proper turn around time.
VI. Chair And Member Comments • Chair Sorenson announced the return of the 50th and France Art Fair in 2022.
• Charity Event “Art for Shelter” is looking for submissions.
• Great Northern Festival is happening, innovative public art.
• Morningside After Dark is virtual in January.
• Commissioner Westlund requested information about covering utility boxes.
o Director Vetter responded that he would research possibilities
VII. Staff Comments
• 2022 Meeting dates were presented.
• Staff member Fulton presented upcoming art programming and attendance
VIII. Adjournment
Motion was made by Westlund to adjourn the January 27, 2022 meeting of the Arts and
Culture Commission, seconded by Chandler. Motion carried.
Meeting adjourned at 6:14 p.m.
Date: February 24, 2022 Agenda Item #: V.A.
To:Arts and Culture Commission Item Type:
Other
From:Laura Fulton, Recreation Supervisor
Item Activity:
Subject:2022 Work Plan Updates Discussion
CITY OF EDINA
4801 West 50th Street
Edina, MN 55424
www.edinamn.gov
ACTION REQUESTED:
The 2022 Work Plan is attached for discussion and updates.
INTRODUCTION:
Discuss and provide any updates to the 2022 Work Plan.
ATTACHMENTS:
Description
2022 Arts and Culture Work Plan
Approved by City Council December 7, 2021
Commission: Arts and Culture Commission
2022 Annual Work Plan Proposal
Initiative # 1 Initiative Type ☒ Project ☐ Ongoing / Annual ☐ Event
Council Charge ☐ 1 (Study & Report) ☐ 2 (Review & Comment) ☐ 3 (Review & Recommend) ☒ 4 (Review & Decide)
Implement Year 2 of the Public Art Plan: The Mandala Digital
Public Art Project and digital mapping
Deliverable
Display artwork submissions within public locations
throughout Edina.
Leads
Fram, Stemmler,
Sorensen, Shen (s),
Anand (s)
Target
Completion
Date
Progress Q1:
Initiative # 2 Initiative Type ☒ Project ☐ Ongoing / Annual ☐ Event
Council Charge ☐ 1 (Study & Report) ☐ 2 (Review & Comment) ☒ 3 (Review & Recommend) ☐ 4 (Review & Decide)
Research and make a recommendation for a microgrant
process for community driven Arts & Culture
Deliverable
Report to City Council.
Leads
Suckow (lead),
Chandler, Amlaw
Target
Completion
Date
Progress Q1:
Initiative #3 Initiative Type ☐ Project ☐ Ongoing / Annual ☒ Event
Council Charge ☐ 1 (Study & Report) ☒ 2 (Review & Comment) ☐ 3 (Review & Recommend) ☐ 4 (Review & Decide)
As a new art space is pursued, the commission will provide
the community perspective to the planning process.
Deliverable
City staff will continue to provide a role for the
commission on the pursuit of art space.
Leads
Chandler, Westlund,
Amlaw, Suckow
Target
Completion
Date
Progress Q1: Feedback from initiative leads received in January. Program Study will be discussed at the February 24 ACC meeting. Program summary will then
be discussed at the March 22 City Council Work Session.
Initiative # 4 Initiative Type ☒ Project ☐ Ongoing / Annual ☐ Event
Council Charge ☐ 1 (Study & Report) ☐ 2 (Review & Comment) ☐ 3 (Review & Recommend) ☒ 4 (Review & Decide)
Climate Change Public Art in the Parks for Earth Day 2022 Deliverable
Climate change messaging at Edina Parks timed to Earth
Day
Leads
Sorensen (lead),
Anand (s), Johnson
Target
Completion
Date
Progress Q1:
Approved by City Council December 7, 2021
Initiative # 5 Initiative Type ☐ Project ☐ Ongoing / Annual ☒ Event
Council Charge ☐ 1 (Study & Report) ☐ 2 (Review & Comment) ☒ 3 (Review & Recommend) ☒ 4 (Review & Decide)
Joint Sponsorship of Performances on the Plaza Summer
Concert Series 2022
Deliverable
Advertise AAC initiatives or table at the concerts.
Leads
Sorensen (lead),
Anand (s), Johnson
Target
Completion
Date
Progress Q1:
Initiative # 6 Initiative Type ☐ Project ☐ Ongoing / Annual ☐ Event
Council Charge ☐ 1 (Study & Report) ☒ 2 (Review & Comment) ☐ 3 (Review & Recommend) ☐ 4 (Review & Decide)
Review and comment on art and décor elements &
programming for the Edina Theatre.
Deliverable
Provide feedback on art elements using the Art and
Décor rubric.
Leads
Sorensen, Rubin,
Westlund
Target
Completion
Date
Progress Q1:
Parking Lot: (These items have been considered by the BC, but not proposed as part of this year’s work plan. If the BC decides they would like to
work on them in the current year, it would need to be approved by Council.)
- Implement microgrant process for community driven Arts & Culture if recommendation is approved by Council.
- Report and advise on procedures to include art and décor elements when opportunities arise in Edina public and commercial projects.
Date: February 24, 2022 Agenda Item #: V.B.
To:Arts and Culture Commission Item Type:
Report and Recommendation
From:Laura Fulton, Recreation Supervisor
Item Activity:
Subject:Pottery Forward Facility Report Discussion
CITY OF EDINA
4801 West 50th Street
Edina, MN 55424
www.edinamn.gov
ACTION REQUESTED:
Receive consultant report regarding a pottery forward facility.
INTRODUCTION:
Commission will receive and discuss the pottery forward facility recommendations and opportunities for future art
in Edina.
ATTACHMENTS:
Description
Staff Report review and consideration of a pottery forward facility
Pottery Program Study
Feb. 24, 2022
Arts & Culture Commission
Perry Vetter, Parks & Recreation Director
Review of Pottery Program Study
Information / Background:
The Edina City Council has tasked City staff with providing perspective and results on the pursuit of a
pottery forward facility with attention to equity, inclusion and sustainability, so that it can next move to site
selection. The Arts and Culture Commission is also a participant in this work as called for in the annual
work plan to, “provide the community perspective to the planning process as a new art space is pursued”.
This initiative effort has included Commissioners Amlaw, Chandler, Suckow and Westland, along with
professional adviser Sara Peterson as our management consultant.
The project goal is therefore to make a recommendation to the City Council on a model and space needs
for a temporary, until permanent, facility solution for pottery that is an asset for Edina and the region.
The attached report provides a wealth of information; including history related to past study efforts,
observations of programming results, facility recommendations and supporting operating structures. While
members of the community have followed these studies, it should be noted that these efforts have been
ongoing since 2007. At heart of the issue is a facility that has operated inside a former residential home built
in 1948, remodeled for use as an arts center in 1977, and expanded twice in the 1990’s.
A continuing basic pattern has been repeated that 1) declares a need for new and remodeled space, 2) a
process of vision and study, 3) choices to not invest in the current facility from a capital standpoint, and then
4) status quo due to a variety of factors that did not result in action. This cycle has repeated since 2007 and
resulted in the current physical condition of the facility. Prior studies have focused on expansion, new
opportunities and program growth.
In 2019 it became apparent as staff changed over that, while the facility continued to function, some serious
infrastructure issues were obvious. At that time, staff engaged an architectural firm to review the center, not
from a space or programmatic needs as done in the past, but in compliance with the existing building code
for safety and security. That inspection was completed shortly before the Covid-19 pandemic changed the
course of what we consider “normal.” The Edina Arts Center, along with all other city recreational facilities
were closed as part of that pandemic response in March of 2020. While we were grappling with new
terminology such as social distancing, capacity limits, and air filtration, the Center’s infrastructure needs
became more apparent. In addition to the limits to adhering to Covid protocols, the resulting building code
analysis remained a problem. The facility is not ADA compliant; does not meet current fire codes for safety
STAFF REPORT Page 2
ratings; has multiple hazardous areas; lacks proper ventilation; has electrical distribution and gas line
penetration deficiencies.
In addition to the lack of investments in the building envelope, the Center eventually reopened using the first
floor (ADA Accessible) only for prior registration classes only. Use of the mezzanine and pottery area have
not reopened for use due to the compliance issues mentioned above.
Program Study
The report includes a deep dive into the available information on how the Center has and how an alternate
space could operate. Challenging the study is an acknowledgement that over the course of time multiple
registration and financial systems created gaps and inconsistent pools of data. However, the best picture
available for decision making is presented for analysis. Not only are we presented with summary data,
financial modeling and staffing observations, we are provided analysis of local comparisons, field
recommendations and program options.
In summary, the report provides a direction on our purpose, brand model, desired site and facility
specifications, and principles for success. As highlighted in the introduction of the report, this is both too
much yet not enough information to draw precise conclusions. However, after studying the same concept
since 2007, we must push through to create a programmatic model that meets the market needs for
pottery.
Discussion
There have been a number of studies that have consumed time, financial resources and emotional capital
over the years. Within the context of this effort, we have been focused on the City Council directive to:
1. Build a pottery asset for Edina and the region;
2. Identify a temporary, until permanent, facility solution for that asset;
3. Continue with a decentralized use of locations for other methods of art in the time being;
4. Pursue the potential of a purpose-built facility (maybe within Braemar Park) in the future.
To ground the discussion, the City Council has removed from our study option at this time conducting art
programmatically only, participating as a partner in a consortium or a pursuit of new full space or
renovation.
This report and subsequent discussion will be presented to Edina City Council members at their March 22
Work Session Meeting. At a minimum, the initiative members are invited to attend that meeting and further
clarity on the meeting structure will be provided.
Action Requested:
For the review by Arts and Culture Commission Members, we ask you to provide notes and observations
for the upcoming review by the Edina City Council. This could be with respect to the recommendations
listed in the Facilities, Programming and Market Recap area, or observations in general.
1
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Introduction
Contents
This report is a compilation of information for the Project Planning Team to use in its discussions. As such it is both too
much information and not enough. It is however an effort to have all the relevant information at hand for the questions
we should anticipate from Committee, City Staff, and Council members. Specifically, questions related to:
• Current facility users (demographics and residence) and related trends
• Participation trends that comparison centers are seeing
• The condition of existing equipment and ability to move it to a new facility
• The operating cost of a new facility and its variables (ownership, location, scale of operation)
• Opportunities for partnerships to leverage any investment
The Project
Project Planning Team
Edina Parks & Recreation: Perry Vetter, Tracey Petersen, Laura Fulton, Jeanette Colby, and Susan Tarnowski
ACC Initiative #4 leads: Kathy Amlaw, Susan Chandler, Steve Suckow, and Laura Westlund
Advisors: Nancy Blankfard, HGA Architect; Sara A. Peterson, Management Consultant
Parameters
The Edina Arts & Culture Commission (ACC) has been charged with providing community perspective to the planning
process as a new art space is pursued. The City Council is interested in:
• Building pottery asset for Edina and region (the current cost exceeds benefit of $1.6 needed investment);
• Identifying a temporary (until permanent) facility solution for that asset;
• Continuing decentralized arts programming for the time being;
• The potential of a purpose-built facility (maybe at Braemar) in the future
Project Goal: Make a recommendation to the Council re a model/space needed for a pottery-focused facility (2nd priority
other 2/3D) with attention to equity, inclusion and sustainability, so that it can move to site selection.
INTRODUCTION
Contents ............................................................. 2
The Project ......................................................... 2
SUMMARY
EDINA ART CENTER
Observations ...................................................... 5
Historic Highlights............................................... 6
Financial Model .................................................. 7
Membership ....................................................... 9
Classes & Registration ...................................... 12
Facility & Grounds ............................................ 15
Equipment & Kilns ............................................ 17
Instructor Staffing ............................................. 17
FIELD STUDY
Local Center Comparisons ................................ 18
National Examples ............................................ 20
Field Recommendations ................................... 22
OPTIONS TO CONSIDER
Sites Explored ................................................... 25
Program Portfolio ............................................. 26
Supporting Structures ...................................... 28
ADDITIONAL PROFILE DATA
Artistry Theater & Visual Arts ........................... 29
Fired Up Studios ............................................... 30
Minnetonka Center for the Arts (MCA) ............ 31
Northern Clay Center ....................................... 32
APPENDIX
Glossary ............................................................ 33 Sources ............................................................. 34 Minneapolis Parks Board .................................. 35
The Introduction includes an overview of
the project parameters and a guide for
discussion.
This is an overview of Planning Team
recommendations for ACC and Council
discussion.
This section provides an overview of the Edina Art Center facility, its financial
model, participation in its programs, and
its history as context for discussion.
The Field Study compiles key
specifications of local comparison centers as well as images and inventories from two of the most respected crafts schools in the country. It compiles recommendations from the local centers including their recent market experience. Options to Consider compiles key specifications of the sites recently explored with observations as to their fit with the field recommendations Additional Profile Data presents deeper
profiles of the five comparison centers.
Given the complex history and work
done to compile key documents, the
Appendix provides a bibliography of
sources used in the study. It also assists
with technical language from the world
of ceramics.
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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This requires:
• Basic feasibility scan of the market potential for a pottery-focused facility
• Outline of broad contours for a business model (goals, target markets, pricing)
• Outline of min. (req. or pref.) specifications/characteristics to guide the search for a facility
This stage does NOT include:
• Creation of a business/strategic plan, pro forma, or architectural renderings for a facility
• Identification of specific sites for consideration
• Planning for the current Art Center or its programming
• The change management/communication/engagement for the project or future implementation
Process Steps
Step 1 COMPLETE: Project Planning with the Project Team
Step 2 COMPLETE: Information Gathering, Review & Summary: This report is the product of Step 2
Step 3a COMPLETE: Bring information to the Project Planning Team for discussion
Step 3b IN PROCESS: Bring information to the ACC for discussion
Step 4: MARCH 2022: Discuss in Council work session.
Discussion Questions
This is template for the Project Planning Team to use as it discusses the project going forward. It should also
provide a guide for reading the report and considering the following:
• Feasibility: From the information gathered to date the Team should answer the following: 1) How
are we defining “feasibility” for a pottery-focused facility? 2) To what degree does a such a project
appear to be feasible? 3) What parameters or variables would increase/decrease that feasibility?
• Capacity & Function: The Team should also outline a preferred program model including at least
the specifics to the right:
Next Steps
The Team will outline next steps for itself, City Staff, and City Council, answering key questions.
Decisions What decisions will staff and Council need to make in order to move forward?
Questions for
City staff or Council
What questions do staff and Council need to answer in order to move forward? E.g.,
• Is a 75/25 ratio of revenue to City support one the City considers reasonable?
• If not, what would be?
• Must City support come from entrepreneur funds?
• Or may it come from general funds as well?
Additional data/research (caveats if unavail.) Does the Team need additional data or analysis to formalize its recommendation?
Planning Worksheet
Purpose
(Mission)
What will it do?
For whom?
To what end?
Broad
Model
Approach e.g., community education first or studio first
Scale for staff/budget e.g., classes of x size and variety, open studio
Target audiences/markets e.g., age, location, skill level, amateur/professional
Membership model
Pricing model?
Site
Specs
Locations / characteristics e.g., proximity to public transit
Building type e.g., retail, light industrial
Parking access e.g., min spaces or distance, drop off access
Green space e.g., x acres, adjacent, for y purposes
Facility
Specs
Studio(s)
Glaze Room(s) e.g., minimum size, capacity or safety considerations
Kiln Room(s) and/or Shed(s)
Storage requirements
Success
Principles
Goal
MUST include items e.g., commitment to equipment maintenance
Equity and inclusion
Sustainability
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Summary Recommendations
The Twin Cities has long been seen as a vibrant market for pottery and potters. It includes a high number of experts and instructors, access to university programs, the reputation of Northern Clay and its annual festival,
access to Continental Clay and Master Kiln Builders, collectives and small studios, a culture of summer shows, and numerous pop-up, local and regional shows. This important as a baseline for this study.
After review of the study and discussion within the Project Planning Team:
What: The group would like Edina to have a fully developed pottery program once again in a place where all ages and families belong, a place experienced potters can call home
For Whom As a City program, it should be welcoming, available, and accessible to the broadest possible public audience.
To What End: Classes should emphasize beginner/introductory skills and experiences that create an interest in the art form, but it’s also terrific to introduce people to pottery and have at least one experience of
working with clay and the wheel—it's okay if that's all that you do here! We could imagine something like a pyramid arrangement of classes, with a broad and solid base of introductory classes open to kids, seniors,
and the public, no previous experience necessary, and then more select classes for students with advanced expertise, like workshops with particular teachers or on specialized techniques or kilns that might not bring
in as many students but would keep experienced potters interested. Instruction should be supported by open studio access at a level that matches staff capacity and risk tolerance.
Accessibility: Ideally, the facility would be conveniently served by public transportation in order to make it easily accessible. Public transportation in Edina is improving (the new Metro Line on France Avenue is a
priority and significantly increases public transit on that major street throughout the city), but still limited. We need substantial and free parking on site to accommodate most visitors; the report indicates that three-
quarters of adult pottery participants are not Edina residents. At an earlier meeting of this group, we also mentioned safety issues for children; in order to have camps and children’s classes, parents must feel comfortable dropping off children at the site, with no security concerns.
Success will require commitments from the City to
• The quality, maintenance, and safety of the facility and its equipment. This is a financial, human resource, and oversight commitment.
o Exciting, creative programming for all ages coupled with concerted marketing efforts and staff to support that activity.
o Staff the program with the skills it needs to manage the technical side of a studio, as well as the logistics/scheduling, programming, community relations, and maintenance.
• A complete approach to financial sustainability that includes revisions to registration, membership, contributed, and other earned income. For example:
o Membership Program: It’s a good sign that several of the other local pottery facilities have waiting lists now: that’s a strong indication of demand. After being closed during Covid, and having limited
availability for pottery during the development of the new facility, some of the previous Edina pottery students might find other classes elsewhere, so I definitely think a revitalized and strong
marketing effort here will be necessary to promote the pottery program and the Edina Art Center, bringing new attention to the center as well as renewing interest among people already familiar with
it. This is an excellent time to reconsider what membership in the Edina Art Center means and possibly offer a new membership program that might encourage more residents to join, even if they do
not take classes. But we have to offer benefits for membership, and that requires staff time and efforts, which also need to be realistically considered with all of these plans.
o Naming & Donations: In order to emphasize that this is a public facility operated by the City of Edina, I would not support naming the center itself after a donor, whether individual or corporate. We
could consider naming particular spaces within the facility, like a gallery or a specialty area (or we could name the kilns, I guess—some local museums have named elevators and stairwells). I strongly
support that donations be directed toward scholarships: this helps with equity and inclusion goals and allows the classes to be experienced by a broader group. It would be wonderful to welcome
school groups or groups like Girl Scout and Boy Scout troops to the facility, and contributing funds to support this would be a welcome contribution.
o Retail and/or Gallery Considerations: Including retail space and a gallery along with classroom instruction areas and artistic workspace opens the pottery facility as a destination for people who are not
taking classes and helps to promote art by students and local artists. I strongly support a retail space for the new facility that would sell pottery as well as supplies for classes; this could include pottery
by students, instructors, and artists from the community, including those who exhibit at art fairs in Edina and the metropolitan area. A gallery would be wonderful, too, but both of these elements add to staff time and responsibilities, and the retail space might be the better option if we have to choose. If we are able to have a gallery, it would be great to feature prominent local potters, such as those
in the St. Croix River Valley or faculty of college art department in the Twin Cities; this might attract more advanced potters to visit our facility and learn more about it. Retail space and a gallery can also
provide opportunities for community events.
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Edina Art Center
Observations
Open since 1977, the Center has grown into a program that has been 77% self-supporting (earned revenue as percent of total
expense).
Center membership has declined in recent years. This seems consistent with larger trends in the performing arts away from
subscriptions and in favor of single ticket purchasing. In fact, while Edina’s memberships declined, registration revenue more than
filled the gap. That said, the difference could also be the result of insufficient marketing or a benefit structure that needed revision.
The current project follows on the heels of:
• A 2007 plan to correct concerns and expand the center by 5,600 sq ft ($2.5 million)
• A 2012 operational analysis that led to changes in center staffing
• 2015 options for expanding the center by 12,000 sq ft or a significantly larger facility
• A 2016 process developing plans for a larger facility in the Grandview area
• Subsequent studies reiterating the need for more space as well as concerns regarding the facility.
Over the course of almost 15 years, the message has not changed. There is support and opportunity for an arts facility, pottery is a
cornerstone of that program, and the current facility has deficits. Edina codified its vision and support for the arts in its 2020
comprehensive plan. Now is the time to move forward.
The remainder of this section provides data and details regarding the Center’s:
• History
• Financial Model
• Staffing & Instructors
• Membership & Registration
• Facility & Grounds
• Equipment
This in turn provides a baseline for the comparison study and planning for the future.
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Historic Highlights DEVELOPMENT 1948 Lee and Ros Miller built 4701 64th St. W. as a home on a 4-acre double residential lot by between 1948 and 1951. The family lived there with children and sold the property to the City in 1976.
1977 Edina Arts Center opens to the public after extensive renovation.
1990 First Expansion was a 1,700-sf single level addition (600 sf Main Wheel Room, 920 sf Studio 14). (Arthur Dickey Architects)
1997 Second Expansion added 3,560 sf of space on both the upper and lower levels of the west side of the building, and included the Peggy Kelly Media Studios at 1,420 sf, the Tea Room and Great Hall and
handicap accessible bathroom at 440 sf, the Lower West Pottery & Painting Studios at 1,700 sf and an egress window in the Old Wheel Room. STUDY & QUESTIONING 2007 Expansion Feasibility Study and Code analysis (ATS&R Architects) was the first attempt to correct facility deficiencies and develop a plan for expansion. The City did not move forward with this work.
2012-13 Sutton + Associates Operational Analysis found that the Edina Art Center was a cherished community asset but had challenges to remain competitive in the market, including building design and size,
ADA compliance issues, circulation, and location. Its primary finding was that “the Edina Art Center is in a unique position to redefine itself to meet the needs and expectations of a population that
increasingly view the arts as an important community amenity that defines their city as a great place to live, work and raise a family.” It recommended that:
• The City maintain its commitment to EAC and encourage its leadership to explore ways to expand its role in the community through programs and services that reflect growing ambitions and
aspirations of community members committed to providing great cultural activities to residents of Edina.
• EAC leadership play a vital role at the table as broader community initiatives are explored.
• EAC work with the Edina Community Foundation to attract philanthropic support allowing it to serve residents of all ages with expanded offerings in both the visual and the performing arts.
• The City and EAC transition from interim Director to Executive Director of the current lead staff.
• The EAC Advisory Board assist City leadership to appropriately respond to increasing demands, participation and preserving EAC as a key community asset with relevancy to residents.
Edina hired a center director (FT) and formed the Arts and Culture Commission following the Operational Analysis. This analysis led to the Schuler Shook work in 2015.
2014-16 Vision for a Community Building for the Arts (ACC): Edina will be a community where:
• Everyday life is integrated with art, culture, expression, and creativity.
• Community growth is coupled with arts and culture.
• The number of people who appreciate, engage with and create art is increased.
• Arts and culture are accessible and inclusive of all members of the community.
• High value is demonstrated on arts and culture.
• As a “creative city,” arts and culture positively impact livability, diversity, inclusion, and economic development.
Schuler Shook options and analysis found that the Edina Art Center lacked sufficient size to meet its needs. This study and the options proposed led to the work of the Grandview Task Force.
Grandview Task Force proposed a community center on the 3.3-acre site. That project featured a larger art center, along with a senior center, recreation spaces and underground parking. While the
cost of the project exceeded the preference of many, the proposal clearly indicated the importance of a new art center. This process with Sutton + Associates included detailed design work with HGA
Architects & Engineers as well as pro forma development by pros consulting. Embedded within a much larger community project that was not pursued, the arts center expansion was again put on hold.
2017-19 ACC Recommendation: The Commission requested that the City build a new Center focused on visual arts that will offer more space, inc. art studio and exhibition space, designed specifically with the
arts needs in mind; be a fully accessible and ADA-compliant facility to serve all our community's residents; and be conveniently located with ready access to mass transit.
Various reports completed: ADA Report & Brand Audit Report, System Renewal Report, Building Code Inspection, Facilities Management Report, Security Recommendations.
2020-21 Edina Comprehensive Plan 2018 (adopted in 2020) includes a commitment to arts and culture an essential objective for the City. It identifies Edina’s highest-priority objectives for arts and culture as:
1. Incorporate arts and culture across all of Edina to provide opportunities for people to come together, share experiences, and build an inclusive and cohesive community.
2. Improve/maintain dedicated spaces and venues for arts and culture; activate each with dynamic programming that includes a broad array of art forms and expressions that are accessible to all. The Center closed to the public in 2020 with the pandemic, prompting further discussion and 2021 report to the City Council leading to the current project.
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Financial Model
Reading the Data
Data used for his summary was taken from 2016 Grandview Task Force reports and additional data
generated in 2021. It is important to understand where pottery revenue IS and where it ISN’T in the
numbers. Looking at the figure to the right:
• Memberships & Registrations (all media) include all memberships and all class registrations
(pottery and everything else). The bulk of pottery revenue is embedded here. We wish we
could separate it out, but we cannot. However, looking at a sample year in the registration
data further in this document we see that revenue from pottery classes plus approximately
half of camp revenue makes up more than 50% of total revenue.
2016 Pottery Classes
Revenue $ 141,473
Registrations 744
Summer Camps Revenue $ 46,509
Registrations 568
Other / Everything Else
Revenue $ 130,047
Registrations 753
TOTALS ALL CLASSES / ALL ART FORMS –
Revenue $ 318,029
Registrations 2,065 • Pottery Fees revenue includes the $4/week studio fee registrants paid along with separate
firing fees, averaging 8% of revenue. This number is low across the board, but we expect that
to be the case.
• Gallery, Shop, Other Fees revenue is what it sounds like, averaging 8% of revenue. It includes
pottery revenue to the extent that the pieces, supplies sold were related to that work. We can
consider this in modeling if a new program were to include either gallery or shop space.
• Finally, Donations & Interest are just that, averaging 3% of revenue.
Observations
• Both revenue and expense rose and fell from 2012-2019 with expenses 11% higher at the end
of this period than at the beginning. The 2019 drop in revenue may be a result of tension
related to an internal staffing change, a sign of decline in interest, or an aberration. With the
pandemic coming the following year, it is difficult to know.
Income
%-ages are relative to total expense
Donations & Interest 10,410 5,718 13,405 26,147 22,238 20,038 21,720
Gallery+ 78,028 73,928 57,317 49,428 43,157 47,707 35,258
Pottery Fees 39,280 41,552 82,605 54,464 58,118 61,464 38,649
Members & Reg (all media) 324,067 352,076 376,557 382,248 393,110 402,313 342,988
$451,785 $473,274 $480,124 $529,884 $512,287 $516,623 $531,522 $438,615
Expense
0%
25%
50%
75%
100%
2012 2013 2014 2015 2016 2017 2018 2019
Memberships & Registrations (all media)Pottery Fees
Gallery, Shop, Other Fees Donations & Interest
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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• In general, the Center has earned enough to cover an
average of 77% of its expenses each year (no
depreciation).
• There have been no capital improvements during
this period
• I would estimate that more than 50% of that revenue
came from pottery-related activity (calculated as
pottery fees + 50% of memberships, registrations,
and retail). The remaining support provided by the
City of Edina averaged $154,000/year. This ratio is
similar to at least one nearby nonprofit center’s
earned to contributed ratio.
• While donations, sponsorships and related strategies
are an important part of a healthy and
comprehensive revenue model, it will always be
secondary in importance to earned income.
The table here provides more detail, and the revenue can be
further explored by looking at membership and registration
trends over time in the next section of this report.
Data used for his summary was taken from 2016 Grandview Task Force reports and additional data generated in 2021
2012 2013 2014 2015 2016 2017 2018 2019 2020 12-19 Ave
Income
Pottery Fees
4614 – Studio Fees 10,043 11,405 47,441 15,971 16,866 22,673 6,633 1,044 21,917
4608 – Firing Fees 29,237 30,147 35,164 38,493 41,252 38,791 32,017 5,817 37,143 Memberships & Registrations (all media) 4531 – Memberships 27,741 23,187 21,467 14,937 14,213 17,115 15,102 3,369 16,567
4607 – Class Registration 296,326 328,889 355,090 367,311 378,897 385,198 327,886 23,820 362,876
Gallery, Shop, Other Fees
4413 – Artwork Sold 16,478 13,419 8,292 17,236 13,216 23,295 16,454 5,297 15,484 4414 – Misc. Retail Sales 20,451 24,258 37,883 31,801 29,289 24,162 18,705 3,312 26,650 4521 – Concession Sales 559 442 113 391 652 250 100 - 358
4610 – Media Studio Fees 40,540 35,809 11,029 - - - - - 12,483
Donations & Interest 8020:8199 – Donations 9,844 7,341 11,303 24,168 20,138 17,272 15,425 13,714 15,070 8000:8011 – Investment 289 2,314 1,890 2,113 2,593 6,217 - 2,569
4609 – Enterprise over/short 566 (1,912) (213) 89 (13) 174 78 (88) (176)
City Budget: Enterprise Funds 4805:4806 - Transfers 165,000 165,000 213,825 100,000 116,850 100,000 150,000 200,000 - 151,334
TOTAL 616,785 638,274 693,949 629,884 629,137 616,623 681,522 638,615 56,285 643,099
Expense
People, Services & Occupancy 6000:6099 – Personnel 395,106 396,222 460,511 492,501 494,763 396,303 490,325 218,658 446,533 6100:6299 – Contractual 98,835 84,864 83,911 92,730 95,853 108,726 90,792 38,297 93,673
6800:6899 – Central Services 37,886 41,876 34,990 39,394 44,451 41,000 41,243 68,862 40,120 Supplies 6400:6699 – Commodities 39,152 49,596 68,438 77,502 68,689 58,925 54,665 10,931 59,567 5500:5599 – COGS 20,310 8,863 (146) 1,766 (1,581) 1,549 2,758 - 4,788
Capital
6901:6999 – Depreciation 26,287 26,228 25,717 23,930 22,032 13,895 5,890 6,000 20,568
TOTAL 617,576 607,649 654,310 673,421 727,823 724,207 620,397 685,673 342,748 663,882
Surplus (Loss) (791) 30,625 39,639 (43,538) (98,685) (107,584) 61,125 (47,057) (286,463) (20,783)
Surplus (Loss) w/o Depreciation 25,496 56,853 (17,821) (74,756) (85,552) 75,020 (41,167) (280,463) (8,847)
Total City Support $139,504 $108,147 $174,186 $117,821 $191,606 $185,552 $74,980 $241,167 $139,504 $154,120 Enterprise Funds + S(L) w/o Depreciation
City Support as % of Expense 24% 19% 27% 18% 27% 26% 12% 35% 24% 24%
Income by Group
Pottery Fees 39,280 41,552 82,605 54,464 58,118 61,464 38,649 6,861 Memberships & Reg. (all media) 324,067 352,076 376,557 382,248 393,110 402,313 342,988 27,189
Gallery, Shop, Other Fees 78,028 73,928 57,317 49,428 43,157 47,707 35,258 8,608
Donations & Interest 10,410 5,718 13,405 26,147 22,238 20,038 21,720 13,627 City Budget: Enterprise Funds 165,000 165,000 213,825 100,000 116,850 100,000 150,000 200,000 unk. 616,785 638,274 693,949 629,884 629,137 616,623 681,522 638,615 56,285
Percentage Composition
Pottery Fees 6% 7% 12% 7% 8% 10% 6% 2% 8% Memberships & Reg. (all media) 52% 58% 56% 53% 54% 65% 50% 8% 55%
Gallery, Shop, Other Fees 13% 12% 9% 7% 6% 8% 5% 3% 8%
Donations & Interest 2% 1% 2% 4% 3% 3% 3% 4% 3%
City Budget: Enterprise Funds 27% 27% 33% 15% 16% 14% 24% 29% unk.
Delta to 100% is Surplus (Loss) >> 100% 105% 94% 86% 85% 110% 93% 16% 74%
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Membership
Observations
Membership is best seen as a way for community to “choose” and stick with its studio for the long-term v. nominal discounts.
The trends seen here suggest a need for careful consideration of the price and benefits of membership when creating the new
model. (See side-by-side comparisons on page 11 for peer centers.)
Perhaps the most important note here and in the sections that follow is the importance of active marketing for success over
time. Any program pricing or member model will need to be marketed heavily across communication media – not simply the
City website and program brochures.
General Trends
Center membership has declined in recent years as is evident in the charts here and the tables on the following page. We see
this decline in membership fee revenue as well. We know the reason for some of the 2019 decline was specific to specific
relations. However, the overall trend could be a parallel to that seen in the performing arts for many years now – toward
individual ticket purchases versus subscription ticketing.
However, class registrations have made up the slack in revenue as depicted here. Here we see that the loss of approximately
$12,000 in membership revenue has been replaced by more than $30,000 in registrations.
Registration Growth Outpaced Membership Decline
2012 2013 2015 2016 2017 2018 2019
Memberships $27,741 $23,187 $21,467 $14,937 $14,213 $17,115 $15,102
Registrations $296,326 $328,889 $355,090 $367,311 $378,897 $385,198 $327,886
$324,067 $352,076 $376,557 $382,248 $393,110 $402,313 $342,988
2015 – 2019
2015 2016 2017 2018 2019 Type & Price
$42 Individual 614 420 429 354 314
$60 Family * 132 100 79 64 45 $75 Contributing 5 1 3 3 4 $100-499 Sustaining 10 5 4 3 2
$500 + Patron 1 -- 1 -- -- Total # 762 526 516 424 365
Revenue
$ 21,467 $ 14,937 $ 14,213 $ 17,115 $ 15,102 Ave $ Rev per >> $28 $28 $28 $40 $41
Type Composition
Individual 81% 80% 83% 83% 86% Family 17% 19% 15% 15% 12% Contributing 1% 0.2% 1% 1% 1% Sustaining 1% 1% 1% 1% 0.5% Patron 0.1% -- 0.2% -- --
Residence Composition
Edina Resident 270 186 177 131 103 Non-Resident 491 340 338 293 262
Residence Ratio >> 35/64% 35/65% 34/66% 31/69% 28/72%
* Family membership includes parents and all children under 18 living under the same roof
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Pottery Note
It is worth noting that from 2012-2015 (calendar years), as much as 87% of pottery class registrations
came from members. This suggests that membership has been a greater benefit for pottery users than
other Art Center users.
MEMBERS as % of Class Registrations 2012 2013 2014 2015 Open Studio Classes (drawing & painting, jewelry, pottery) 37% 45% 44% 22%
Youth Classes (ages 3-18, all areas; clay on wheel at age 9) 44% 43% 46% 34%
Pottery & Ceramics, Clay Sculpture 85% 83% 87% 60%
Drawing & Painting 84% 82% 79% 55%
Watermedia 70% 70% 66% 44%
Media * 43% 39% 41% 16%
Related * 49% 68% 58% 41%
Summer Art Camps 27% 15% 17% 26%
Totals 61% 56% 57% 43%
* We assume the items in Media and Related include the following co-mingled and non-pottery offerings:
6000 — Photography (all levels, digital photography, no darkroom equipment)
7000 — Jewelry (metal, resin, recycled) 8000 — Literary Arts (poetry, free lectures) 9000 — Workshops — mainly pottery
Member Residence
Looking at the residence of members overall shows an average of 33% Edina resident to 67% non-resident over time. This makes sense given the tight geographic of the metropolitan area and variable offerings across the
region. Parsing the data can reveal differences by program and demographic as in the charts below. It suggests that youth participants stay closer to home, and that potters are willing to travel. (These are the numbers
presented to the Council in March 2021.)
2015 – 2019 April 1, 2019 – March 31, 2020
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Comparing Membership Models
(All 2021-22 except for Edina, note Fired Up Studios in profile has a different structure. See “Field Study” for more about comparison centers.)
Edina 2020
city ArtistryMN
nonprofit in city facility Hopkins Center for the Arts
nonprofit friends of city facility Northern Clay Center
nonprofit Textile Center
nonprofit
Rates Individual
Family
Contributing
Sustaining
Patron
$45
$65
$66-99
$100-$499
$500+
Individual
Household
$40
$55
$39 Regular ($35 Senior/Student)
• Free Artist Talks and exclusive events
• $5 off single concert tickets
• Notification for events and exhibitions
• Opportunities to exhibit your own work
$100+ Salon Society
• Gift cert. for tix OR artwork purchase
• Recognition in concert programs
• Special event invitations
• 10% discount on art purchases
Individual
Student
Senior
$50
$35
$35
Pearl Cotton (Individual)
Worsted Wool (Household up to 6)
Fine Linen (Friend)
Angora (Advocate)
Hemp (Student)
Bamboo (guild member)
Ramie (Educator)
$55
$85
$130
$250
$30
$35
$45
Classes Members: 10% off classes
Residents: $5 off mbr/classes
Discounts on most classes Discounts on our classes Discounts on > 150 classes, etc. a year
Shop
Gallery
Café
Sales…
10% off supplies
Discounts do not apply to the
artist-created work in the Gift Shop
or purchases made in the galleries.
10% off art purchased 10% off in the Sales Gallery (except APF related) • 10% discount in the Shop
• Special offers throughout the year
• Higher commission rate as an artist in Shop
Exhibits
Other
• $10 off Walker membership
• Annual member
exhibition
• Event invitations
• "Pay-as-you-Paint" studios
• $10 off Walker
membership
• Annual member
exhibition
• Event invitations
• Artists can have a 4-wk showcase (lobby)
• 1-2 pc to inc. in all-member show (+ reg)
• Submit to juried member show (+ reg)
• Invites to special events and pre-sales
• 1-year subscription to newsletter and exhibition
announcements
• Invitations to participate in members-only tours
• Enter annual member exhibition
• Borrowing/check out privileges in the Library
• 50%+ discount on facility rental
• Exclusive ability to rent Dye Lab
• Discounts at participating retailers
Donor &
Sponsor
Benefits
While not marketed as such
the Contributing, Sustaining,
and Patron levels above are
clearly intended to be donor
categories,
Monthly Sustainer: Membership benefits when
annual totals $39 ($35 sr/sdt) or more
Corporate Packages • $150 Level ($150-349): 1/8 p 4-color; print
recognition, lobby, and web
• $350 Level ($350-499): 1/4 p 4-color ad; 20% room rental discount; recognition as above; 2 guest passes to a concert
• $500 Level ($500-999)… • $1,000 Level ($1,000+)… • Customized packages to fit your needs…
Dual ($100/year, $50 tax-deductible)
• 2 adult memberships + free adm to lectures
Family ($150/year, $75 tax-deductible) • Benefits above for 2 adults and up to 3 minors +
• Recognition in newsletter and annual report • Complimentary NCC exhibition catalogues
Sustaining ($250/year, $150 tax-deductible)
• Benefits above for 2 adults and up to 3 minors +
• 2 tickets to opening night of the
Patron ($500/year, $380 tax-deductible)
• Benefits above for 2 adults and up to 3 minors +
• Commissioned pot by NCC artist
Leadership Circle
• Silk Thread (Supporter) $500 includes
recognition + complimentary membership,
behind-the-scenes fiber experiences (up to 3)
• Cashmere (Benefactor) $1,000, includes above + private studio tour with a fiber artist;
commissioned, limited edition work of fiber art
• Spun Gold (Patron) $2,500, includes above + an intimate event with an exhibiting fiber artist
Similar NO memberships at: • Eagan Art House • Eden Prairie Art Center
• For Minnetonka Center for the Arts see profile in report • White Bear Center for the Arts has a simple model
Highpoint Center for Printmaking (similar to Northern Clay & Textile Center) • Supporting ($40 or$30 Students/Srs) 10% off select classes, sub newsletter, members-only events • First Edition ($100) + invitation to annual print collecting seminar or printmaking demo • Limited Edition ($250) + 10% discount on prints by Highpoint co-op artists (year-round) • Special Edition ($500) + first notice of new print releases and exclusive invitations to meet visiting artists • Collector ($1000+) + one annual 10% discount on a print
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Classes & Registration
Overview of Approach
Prior to the pandemic, Center’s programs varied greatly in the number of hours the program ran, from 3-hour workshops to 36-hour
classes. Some years had a heavier emphasis on one art form or another. For example, substantial number of digital photography classes
were held in 2016-18. Other art forms never reached the full potential of the equipment on hand. For example, jewelry was never a
large program, and member open studios (painting, drawing) enrollment/revenue was never insignificant. But those areas are not the
focus of this work. Pottery is.
Before the pandemic, the model for pottery classes included the following:
• Individuals registered for 3-hour, 6-week classes at $11/hour for instruction plus fees ($4 studio/week, firing, and supplies).
o The studio fee included bisque firing, glazes, and studio maintenance.
o Firing fees were based on weight rather than volume: $2.20/lb.
• Open studio was available whenever a class was in the space. A small amount was occasionally reserved. Student members
then also had access to open studios.
Data Limitations
Parks & Recreation changed databases in 2015 and again in 2021. As a result, the data used here is incomplete and does not necessarily
compare apples to apples from one year to the next. Past systems were also limited in what they tracked. They did not track
demographic information or individual registration trends but rather focused on registrations as ticket sales. As a result, the data does
not allow us to view how many individuals registered, only how many people are enrolled for each course. (Some enroll for just 1 class; others are continuing students who enroll for many sessions. This is true in across are forms: Painting and Drawing, and Pottery.)
Observations
The tables that follow present an overview of the Center’s class registration history. The 2012-2015 data was generated in early 2016
and included in Grandview Task Force documentation. It is based on the calendar year. While we assume it is complete, Edina changed
its program software in 2016, and we cannot re-run that data today to confirm the assumption. The 2016-2019 data was generated as
part of the current project.
Of note, Edina’s experience with potter classes is that a significantly higher percentage of those planned actually run (compared with
other classes). Similarly, summer camps (with a pottery component) have ahigh run rate. Both could be an indication or demand, better
planning, or both.
When we look at the side-by-side comparison of peers (page 14) we see that Edina’s class pricing might have been a bit lower than the
market. This could be good or bad. There is an opportunity both to align prices with the market and to make clear that entry classes and shorter “taster” experiences are a priority by making them loss leaders. There is
also an opportunity to normalize a few class models (number of sessions and durations) for consistency in messaging and expectations and ease of administration
The Culture at Minnetonka Center for the Arts
Being in Lee’s ceramics classes, you’ll recognize that she is keenly aware that
everything is about the students and what they need. She watches, listens and
gears the instruction to what they need and where they want to go.
“It is their experience, their investment. They could be anywhere else doing
lots of other things, yet they choose to be here [in the studio],” says Lee. “To
me, it is a real blessing to help someone along on their journey and to be a
part of that. Someone is allowing me to be part of their life and that is not a
little thing.”
Building community is the culture of the Ceramics Studio. “You’re part of
something here. It’s your studio,” says Lee. “It’s about providing a safe
environment and giving people the tools so they can push the boundaries of
their own creativity.” She credits the studio’s team of Artist-Instructors for
fostering the open, collaborative spirit. “They are all accomplished artists.
They all have a really good sense of self. It’s not about I, it’s about we here.”
Lee handles an incredible volume of work as Ceramics Studio Manager. In
addition to teaching, Lee moves more than 30,000 pots through the kilns each
year practically on her own, manages the inventories of clay, tools and glazes
so students are never without, and keeps all of the equipment running. “It
takes an accomplished set of skills and intense personal commitment to keep
the studio running,” says Executive Director Roxanne Heaton. “Lee alone
makes that happen. I think that’s a huge accomplishment.
Excerpt from:
//minnetonkaarts.org/wp-content/uploads/2018/10/Persell_Lee-Fall-2016.pdf
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Registration Data from 2012-2019
CALENDAR YEAR APRIL – MAY YEAR 2012 2013 2014 2015 2016 2017 2018 2019 Notes
Pottery Classes This section is ONLY pottery
Classes Offered v. Run 94 v. 73 106 v. 74 92 v. 77 86 v. 79 2012-15 is all levels; 2016-19 is adult
Percentage Run (average reg/class) 78% (8) 70% (8) 84% (9) 92% (10) The %age of classes run here is higher than in other areas
Revenue $ 141,473 $ 174,667 $ 167,981 $ 156,910
Registrations 599 622 712 761 744 930 827 746 Without the number of classes held, it is difficult to interpret this trend.
Ave $ Rev/Reg # $ 190 $ 188 $ 203 $ 210
Summer Camps This section includes ALL camps, not just pottery
Classes Offered v. Run 73 v. 63 84 v. 79 86 v. 80 84 v. 80 clay camps = up about 50% of camps
Percentage Run (average reg/class) 86% (8) 94% (9) 93% (9) 95% (9)
Revenue $ 46,509 $ 49,007 $ 59,152 $ 38,833
Registrations 491 714 731 730 568 559 580 406
Ave $ Rev/Reg # $ 82 $ 88 $ 102 $ 96 Doesn’t include Art Academy, Art in the Park, or YouthTech
Other / Everything Else This section is NOT pottery
Classes Offered v. Run 374 v. 167 376 v. 161 391 v. 202 271 v. 158
Percentage Run (average reg/class) 45% (7) 43% (8) 52% (6) 58% (7)
Revenue $ 130,047 $ 122,868 $ 125,377 $ 98,125
Registrations 1,228 1,230 1,269 1,134 753 716 692 582
$ 173 $ 172 $ 181 $ 169 (1000, 2000, P/drawing, W/C, Media, Related) *
TOTALS ALL CLASSES / ALL ART FORMS – however 2016-19 do not match the financial trend data This section includes ALL classes, not just pottery
Classes Offered v. Run 541 v. 324 566 v. 346 569. 374 441. 324
Percentage (average reg/class) 60% (7) 61% (7) 66% (7) 73% (8)
Revenue $ 296,326 $ 328,889 unk. $ 355,090 $ 318,029 $ 346,542 $ 352,510 $ 293,868 The 2016-19 $$ here are $30-40K lower than in the financials
Registrations 2,318 2,566 2,712 2,625 2,065 2,205 2,099 1,734 The 2019 numbers are clearly incomplete
Ave $ Rev/Reg # $ 128 $ 128 $ 135 $ 154 $ 157 $ 168 $ 169
Registration Composition This section includes ALL classes, not just pottery
Adult # 26% 24% 26% 29% 36% 42% 39% 43%
Camp # 21% 28% 27% 28% 28% 25% 28% 23% 2012-15 is all camps; 2016-19 is clay
Other # 53% 48% 47% 43% 36% 32% 33% 34%
Revenue Composition This section includes ALL classes, not just pottery
Adult $ 44% 50% 48% 53%
Clay Camps $ 15% 14% 17% 13%
Other $ 41% 35% 36% 33%
* We assume the items in ”Other” above include the following co-mingled and non-pottery offerings: 1000 — Open Studio Classes (drawing & painting, jewelry, pottery)
2000 — Youth Classes (ages 3-18, all areas; clay on wheel begins at age 9)
4000 — Drawing & Painting (all levels, figure drawing, focus on realistic drawing & painting) 5000 — Watermedia (all levels, watercolor & Sunni-e)
6000 — Photography (all levels, digital photography, no darkroom equipment)
7000 — Jewelry (metal, resin, recycled)
8000 — Literary Arts (poetry, free lectures) 9000 — Workshops — mainly pottery
Youth Programming Notes: 1) School Year Progs: The Center has offered a very limited number of programs for younger students during the school year. 2) Art Academy: A late afternoon program for advanced art students and/or those with a strong interest in art including
ceramics, painting, drawing, and sculpture. Art Academy has been an important youth program serving approx. 20-25 students/year. These registrations and financial data are in the totals.
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Comparing Pricing Models
(All 2021-22 except for Edina, only NON-member prices provided here See “Field Study” for more about comparison centers)
Edina 2020
ArtistryMN Minnetonka Center for the Arts Northern Clay Center Fired Up Studios
Catalog
2020 saved in project folders //artistrymn.org/register-for-classes-
winter
//minnetonkaarts.org/classes/winter-2022-classes/ //www.nccshop.org/classes-for-adults-and-kids //www.firedupstudios.com/cla
sses/
Cap. varies unknown, currently waitlists Range from 10-15 students per class varies Min. 4 / Max. 9
Tuition Usually $11 / instructional hour 1 session x 3 hours = 3
6 x 3 hours = 18
8 x 1.5 hours = 12
8 x 2.5 hours = 20
8 x 3 hours = 24
12 x 3 hours = 36
$45
$198
$154
$220
$264
$396
$14.14 / hour 4 x 3 hours = 12
$170 $13.50 to $20.50 / hour 1 x 2 hours = 2
2 x 2 hours = 2 6 x 2 hours = 12
7 x 3 hours = 21
8 x 3 hours = 24
$ 41
$ 73 $ 243
$ 284
$ 324
$11.67 to $13 / hour before fees 1 x 3 hours = 3
2 x 5 hours = 10 5 x 3 hours = 15
10 x 3 hours = 30
$40
$160 $195
$440
$15 to $30 / hour 1 x 2 hours = 2
6 x 2.5 hours = 15 8 x 2.5 hours = 20
$60
$225 $290
Fees $4/week (total $24-48) OR $10/workshop + Firing fees by weight + Supply costs Glaze firing tickets Clay costs (25 lb. bag) See additional profile data Fees from $20-70 included in registration See additional profile data
Recent
All Skills
Monday or Friday Night Pottery Tuesday or Thursday Morning … Creating Sculptural Vessels Ceramic Sculpture Throwing on the Wheel
Beginner – Intermediate
Explore Clay Intermediate
Beg. Pottery on the Wheel
Wheel Throwing Skills
Bowls, Bowls, Bowls!
Saturday Afternoon Pottery
Intermediate – Advanced
Refining Your Skills
Clay Studio
Firing the Updraft Kiln
Workshops
Clay & Cabernet
Scandinavian-Insp. Pottery Painting
Creative Underglazing
Hourly Lessons
Minimum 5, maximum 10
As
Above
$45
Ceramics For Everyone Complex Clay Creations Ceramics For All Levels Expand And Explore Make It Yours Beginnings And Beyond includes 4 weeks of open studio valued at over $120
As
above
Beginning/Intermediate Ceramics Beginning/Intermediate Pottery Ceramic Sculpture Make It In Clay Pottery in the Making Exploring Clay Stoneware and Porcelain Introductory to Advanced Studio Lab
$ 243 $ 284 $ 284 $ 284 $ 284 $ 324 $ 324 $ 324
Hand-Building & Pouring
Guided Study 3 Graces Pouring Pots
$430 $215 $215
Clay Date Beginning Pottery Beg. Pottery 2
$60 $290 $225
Wheel Throwing
Beg. Throwing—201
Throwing Together
Land of Round Pots—101
Intermediate Throwing—301
$400
$315
$215
$430
Glazing & Firing & Other Bountiful Bowls & Basic Glaze Chem. Soda-Firing Methods Combined Techniques
Shino, What Do You Know Kiln Firing 101
$430 $430 $430
$430 $50-100
Eagan Art House
$12.33 to $21.50 / hour
1 x 2 hours = 2
6 x 2 hours = 12
6 x 2.5 11hours = 15
Open Studio ($6/hour)
6 x 3 hours = 18
Capped at 8
$43
$165
$185
$108
1-2 Session All Level Workshops
Ceramic Dish & Ornament (Families)
Cheers to Winter (Families)
Clay Penguins & Polar Bears (Families)
Ceramic Piggy Bank (Multigenerational)
$ 41
$ 41
$ 41
$ 73
1-2 Day All Level Workshops
Clay for Couples Workshop
Clay-Along Camp Kit
May Your Mug Runneth Over
Crafternoon & Crafterdark
$80
$60
$25-60
$40
Open Studio / Punch Cards
No open studio without a class registration
Open Studio / Punch Cards
Teens 8 x 2-hour classes
Add 4 more
$265
$135
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Facility & Grounds
Overview of Current
The current facility has 10,130 square feet, of which 2,180 are dedicated to pottery (though this does not include common space,
administration, storage, etc.) (See table to the right.) Imagining the current facility as one pared down to pottery, it might be closer
to 5,000 interior square feet (including storage, common spaces, reception, and an office or two).
NOTE, of the facility’s 10,150 square feet, 52% (5,260)
came from the 1990 and 1997 expansion projects (bold green). 2016 Plans (Grandview Task Force)
Preliminary plans from 2016 are consistent with the above estimate at 4,830 square feet. However, to get to this size, the task force
must have reduced the amount of equipment planned. At that time, staff estimated the footprint required simply to contain core
studio and glaze room equipment at over 4,500 square feet. That did not include space without considering kilns, space around
equipment for individuals to work and move,
sinks, recycling buckets/troughs, safety
stations, spray booths, grinders, nor storage
for kiln furniture, cones, back stock.
(Both the current and the planned facilities
included more than 6,000 sq. feet for
outdoor kilns and related needs.)
Combining current and 2016 numbers to imagine a pottery-focused facility, probably comes closer to 8,000-10,000 sq. feet (interior)
as well as additional exterior space.
Current Needs & Deficits
The need to correct deficiencies in the facility has been well-known since at least 2007. Clearly the combination of an adapted facility
with multiple expansions, time, and capital funding got ahead of the Center as evident in the safety, accessibility, and deferred
maintenance issues that lead to the following “bill” to reopen (bottom right).
Even then it would be a crowded Center without flexibility to increase space, which would lead to questions of either:
• Paring down what is inside the building (equipment/supplies) and/or its activity
• Budgeting for another expansion of the facility OR tearing down (some or all) for a new purpose-built facility
Costs for the latter options have not been estimated in recent years. However, the $2.5 million estimate in 2007
would grow to over $3.3 million using simple inflation. We know that the current building market is likely higher still.
The Center as Currently Built
INTERIOR Area # Net sf Capacity
Upper Level (not ADA compliant) Misc. Loft 1 114 15' x 22' 12+ inst
Main Level
Admin
Retail
Reception/Clark Gift Shop 1 600 25
General Manager Office 1 114 1
Office Coordinator Off. 1 114 1
Gallery Margaret Foss Gallery 1 650 150
Main Gallery 500 115
Grand Hall 110 20 Vestibule 40 15 Drawing
Painting
Nichols Studio 1 660 20' x 30' 12+ inst
Peggy Kelly Media Studios 1 1420
Studio 1 108 9' x 12’
Studio 2 108 9' x 12’
Studio 3 108 9' x 12’
Studio 4 108 9' x 12’
Blue Room 1 660 20' x 30' 12+ inst Art Storage 1 2
Art Storage 2 2
Art Storage 3 1 Lower Level (not ADA compliant)
Pottery Pug Room 1 120 10' x 12' 3 Lower West Paint 1 550 16' x 36' 10+ inst
Lower West Pottery 1 310 18' x 13' 8+ instr
Glaze Room 1 600 8+ instr
Main Wheel Room 1 600 30' x 30'
Drawing Studio 14 1 920 30' x 30' 14+ OR 35 std Jewelry Red Door Room 1 290 8+ inst Misc. 1 3,088 12' x 24'
TOTAL 10,150
EXTERIOR Entry and Parking 1 not inc. Total parcel =
0.42 acres,
18,391 sq ft
Gathering, Greer Garden 1 1,200
Outdoor Kilns 1 5,190
TOTAL 6,390
Space Estimates from 2016
Sq F Expansion Est. Ideal Footprint # Tot Sq F
Admin 368 754 Wheels 25 292 Retail & Common 440 400 Kiln Ware Carts (w. buffer) 4 384 Gallery 650 2,200 Glaze Bucket Carts 40 240 Other 2-3D Art 3,404 5,000 Class & Glaze Tables 26 612 Pottery 2,180 4,830 Class Shelves 14 2,688 Misc. 3,088 2,768 Rack Storage 10 320 Total 10,130 14,249 Equip-Only Space Est. 4,563
Compliance & Re-Opening Cost Estimates 2019 Not included
1. Building Code Compliance, Safety and Mandates $ 314,985 Inflation to 2022
2. Projects that protect people, property, infrastructure $ 352,370 Inflation to 2022
3. ADA Improvements (draft form, w/o needed elevator) $ 363,340 Elevator ($250K est.’19; $100K est. ‘07)
4. Improve operations, services, support programming $ 22,250 Inflation to 2022
Sub-Total $ 802,945
5. Infrastructure past due, aging or inefficient $ 569,163 Inflation to 2022
Grand Total $ 1,622,108
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
16 The images here come from the 2007 expansion pla nning (left) and 2016 Granview community center planning (right) processes as examples of past visions for the Center.
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Equipment & Kilns
Equipment: The Center’s inventory of wheels, tools, kiln supplies, racks, and other furnishings represent a significant asset for starting up a new location not to be underestimated. Taken as a whole, the Center has the
vast majority of what it would need for a small or large pottery program in the future with limited additional purchases. (The “National Examples” section of the Field Study provides inventories for comparison.)
Wheels: With 24 electric wheels (including 9 left-handed; 1 adjustable/ADA accessible; and 1
lightweight, Japanese style kick wheel), the Center is well enough supplied to have 2-3 classes taking
place at a time. That number exceeds the current inventory of the comparison centers. (See p. 16.)
Kilns: Until recently the website reported 16 kilns on site, however there are actually only 12 as listed
to the right. Specifically, when last assessed, the Center had:
• Electric kiln – 7
o Good working order – 2
o In need of repair – 3
o Ready to decommission – 2
• Gas & Specialty – 5 (all built to site (see p. 32 for example, all in need of repair)
The Center’s kilns, long touted as its prized attraction, need attention. Interviewees routinely
mentioned that Edina’s specialty kilns (e.g., soda, raku) as differentiators and items students are
looking for. Taking that interest and current kiln condition together suggests that Edina may want to repair the electric kilns and include one or more specialty kilns newly built to site.
The conclusion is that the Center has approximately 9 viable kilns. If the goal is to provide an interim pottery program now OR a substantially reduced program in the future, it could use the 2-5 electric kilns for this
purpose with some investment in repairs. If it is to return to a “full” pottery program portfolio with specialty kilns, regardless of location, it will have to replace/rebuild the gas and specialty kiln at the new site.
Instructor Staffing
The 2012 Operational Analysis suggested that “Over-reliance on a network of many parttime employees working few hours makes
management of the operation more difficult.” In response, Edina expanded the Director to full time, eliminated several part time
positions, and replaced them with a half time Office Coordinator and a half time Customer Service Specialist. To the degree this might
have been referring to instructors, it appears to run counter to common practice (and probably preference) for instructors in art
centers such as this. The table below shows both the number and overlap of instructors in the area. A closer look might reveal that
some of this is a product of availability or churn as individuals advance in their careers. We counted a total of 51 instructors across
the centers reviewed. Ten of whom teach at 2-3 of the centers.
• 5 at Minnetonka Center for the Arts (2 overlap with others)
• 6 at Fired Up Studios (1 overlaps)
• 8 at Artistry (6 overlap)
• 14 at Edina Art Center (3 overlap)
• 28 at Northern Clay (9 overlap)
Any concern that this leads to lesser quality instruction should be allayed by the high caliber list of instructors here. In fact, this model
opens the door to “guest” instructors of even higher caliber.
Inventory, Use & Repair Status of Center Kilns
Kiln Role/Use Status Conclusion Electric
1 LL Kiln e23T-3-240 Primary Bisque Repair Replace elements
2 Km-1222-3” Backup Bisque/04; Kid’s Camp Keep Works well
3 Skutt Km-1027 Bisque/Cone 6; infrequent use Keep Use in place of Olympic
4 Km-1027-3” Main Glaze fire / Cone 10 Repair Replace elements; works well
5 Skutt Km-818 Repair Re-wire or replace circuit board
6 Olympic Oval (Bartlett ctr) Decommission
7 Km-1027-3 Decommission No longer used Gas & Specialty
8 Gas Indoor Kiln Primary Cone 10 lg, fire every 2 wks Unclear Venting disfunction; built to site
9 Gas Updraft Kiln (outdoor) Debated Built to site
10 Soda Gas Kiln (outdoor) Repair Still viable, built to site
11/12 Raku (outdoor) Unclear
Center Instructors 2018-2020
Angelica, Marion https://www.marionangelica.com
Bosley, Katie http://www.katiebosley.com
Doan, Siiri https://siiriuspottery.com
Dowling, Caitlin http://www.hollytreestudios.com
Fiess, Benjamin http://bfiess.com
Gunelson, Erin https://www.eringunelson.com
Lutterman, Brandon https://www.instagram.com/luttermanart/?hl=en
Meer, Jacob https://jacobmeer.wixsite.com/mysite
Monahan, Brett https://www.brettmonahanpottery.com
Nagy, Kelsey https://www.etsy.com/shop/kelseynagy
Shaughnessy, Sandra https://sdspotter.wordpress.com
Sow, Adama https://ceramicsow.com
Teegarden, Kathy https://sewardarts.org/meet-seward-artist-kathy-teegarden/
Veigel, Catherine https://fireonthegreenway.wordpress.com/about/catherine-veigel/
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Field Study
Local Center Comparisons
Data Sources
At the start of the project, the team identified five local
ceramics programs for this field study, listed below.
• Artistry Theater & Visual Arts (Bloomington),
• Fired Up Studios (Minneapolis),
• Minneapolis Parks & Recreation Board,
• Minnetonka Center for the Arts, and
• Northern Clay Center (Minneapolis).
While research into the Minneapolis Parks & Recreation Board was part
of this study (see Appendix), those facilities are not included here. They
are simply too different from the others reviewed. Highlights include:
• Fees and tuition fit individual centers v. cost / instruction hour
• Current class offerings vary from 1-15 days and 2-44 hours
• Some classes fill up quickly with long wait lists (Powderhorn)
• Some centers focus on classes, others have open studio access
• Classes and studio / punch card access are available across ages
This section summarizes that work, drawing from interviews with their managers supplemented with public information.
Observations
Taken as a whole, my observations from the five comparison centers are that:
• There appears to be a healthy market interest to support Edina stepping back into this work
• Its equipment, wheels and kilns are sufficient in number and variety to support a program
• Some of Edina’s kilns will be distinct draws for local potters (soda, reduction, raku)
• This confirms that a new program needs substantially more space than it currently has
• The project team has a number of programmatic choices to make in order to right size a facility
• Historically, the Edina program is most similar to the Minnetonka program
Side-by-Side
There is more information regarding each of the centers reviewed at the end of this report (“Additional Data”). Those profiles vary by the information available, providing class listings, fee schedules, studio policies and
other details. The table below focused on information central to the current project, information that describes the facility as well as its equipment, staffing, and audiences.
Northern Clay Center Minnetonka Center for the Arts Artistry Theater & Visual Arts Fired Up Studios
Basics
Source K Rudy-Kihlhepp, Exec. L Persall, Mgr Chris Singewald Mgr B Robinson, Owner
Website //northernclaycenter.org //minnetonkaarts.org //artistrymn.org www.firedupstudios.com
FYE2020 Expense $1,558,602 $1,344,864 $1,529,131 unknown Business Structure Nonprofit Nonprofit Nonprofit Small Business
Facility Ownership Nonprofit owned Nonprofit owned Government owned Leased
Interviewees
Interviewees included 4 managers, 3 of whom are accomplished potters.
Kyle Rudy-Kohlhepp, Executive Director, Northern Clay Center: Kyle is a fiber artist
and a potter. He spent 3+ years as Head of Retail for Continental Clay Company before joining Northern Clay Center. There he has been Manager of Education &
Studio Artist Programs, Deputy Director of Operations, Director of Learning, Interim
Co-Executive Director, and now Executive Director. //kylerudy.blogspot.com
Lee Persell, Ceramics Manager. Minnetonka Center for the Arts: Lee is a former student of Warren McKenzie. She has been teaching at the Center since 1998 and is also the ceramics studio manager. Her work can be seen at art fairs and galleries in the upper Midwest. //www.instagram.com/lee.persell/ Chris Singewald, Studio Manager, Artistry: Chris has been a Resident Artist and Materials/Glaze Technician, the Outreach and Studio Technician, and the Outreach Manager at Northern Clay Center. During his tenure, the Outreach program reached 10,000-14,000 people each year. “I have extensive experience leading clay workshops with children and adults; I am passionate about bringing positive clay experiences to elementary students.” //www.claycoyote.com/meet-chris-singewald/ and //www.purpledoorpotters.com/artist-profiles/chris-singewald/ Beth Robinson, Owner/President Fired Up Studios: Beth started Fired Up in 1998 after taking pottery classes at Northern Clay. She became aware that many students were taking classes just to have a place to work. Beth is not a potter and believes this helps her stay true to mission "for our customers to have fun and leave in a better mood than when they arrived." //www.firedupstudios.com/about/staff.php
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Northern Clay Center Minnetonka Center for the Arts Artistry Theater & Visual Arts Fired Up Studios Nonprofit NTEE Visual Arts Org (A40); Arts Educ/School (A25); Arts Service Activity/Org (A90) Arts Educ/School (A25) Arts, Cult. Org-Multi. (A20); Theater (A65) Small Business
Location Seward Neighborhood Suburban residential Bloomington, gov. Golden Valley, light ind.
Building Commercial Commercial-Preferred Commercial-Preferred Industrial-Preferred
Parcel 0.97 ac, 42,378 sq ft 5.66 ac, 246,637 sq ft 15.44 ac, 672,585 sq ft 9.99 ac, 434,959 sq ft
Property Value 2012 sale $99,944 not assessed not assessed 2021 $12,000,000
Size Built 1915, $1M full HVAC 5-6 years ago, most recent reno. 2018;
22,000 sq ft: divided artist, teaching, public; 3 teaching studios
Built 2002 $6.5; 31,000 sq ft; 3 clay rooms =
studio, glaze, kiln; storage in all rooms+ back
stock space
Built 2001 Built 1984; approx. 7,000 sq ft suite; 1 large,
open space with racks used to divide
Wheels & Kilns
Electric Wheels Up to 22 (reduced during covid) 17 (unclear if kicks inc.) 16, always working on… 19 "haven't counted lately"
Kick Wheels In storage since covid 3 motor assist, 1 without n/a 1 kick
Oxidation Kilns 10-11 in main kiln room, 2 larger in other 4 Electric (inside) 2 electric 4 Electric 27 cu ft along back wall to vent out
Reduction (gas) 1 x 100 cu ft Cone 10 Gas reduction n/a Atmospheric (soda) 2 soda 28 and 38 cu ft 1 Soda (outside) n/a n/a
Raku & Other Blaauw 30 cu f, closed syst. 2 Raku (outside) Raku n/a
Firing Details
Bisque At least 3 days/week not discussed not discussed 1-2/wk (18 hr + 2-d cool)
Cone 6 Glaze
100 cu ft / wk glaze + stu.
not discussed 1 x month (electric) 2-3/week
Cone 10 Glaze not discussed
Raku varies weekly-mo
1 x month, closer to holidays 2x (gas) 1-2/week
Glaze Mixing & Kiln Maintenance In house Studio manager Studio manager Continental clay
Target Audiences
Theirs (self) Studio prog = 18-19; Semi shared = mix of prof. and intense hobby; approx. 6 making living Fair amount of retired, Evenings for workers, weekends are important Beginners and hobbyists, not prof. All sorts provided able to function on their own in the studio
Overall age mix was coming down, now creeping up again; Smallest age group is 20s, financial accessibility Diverse from older teenagers into 80s-90s; kids/family – summer camps, family workshops Lean a little older with some younger (20s) good experience and spread Adults only
Perceptions of
Peers
Beginner and Professional not discussed by others Fit and offerings as differentiators, as long as
welcoming (e.g., Edina offered soda)
not discussed by others
Service Numbers
Studio Capacity 14-16 in studios (6-8 per.)
14 in hand-building studio
Classes capped at 15 Limited only by rack space
Pre-Covid
Audience
Consistently higher and higher registration levels History of sold-out classes Rebuilding program in 2017, 3-5 in classes;
2019 over 50 across 7 classes, slowly growing
Didn’t have waitlists as do now
Current Audience Wait lists for every class Not yet known Working up –restarted teaching on a few
weeks’ notice, no wait list yet but fully booked
Approx. 200 members (60 studio, rest firing)
Studio waitlist (12-14)
Perception of Demand Right now, there is a demand Pent up demand after covid; open studio interest is huge, people need access, can’t just come and
go for class
So much interest, we don’t feel competition with other centers etc. Market is the middle, classes in demand with huge wait list
What Changed Some result of reduced capacity, some Edina coming to them
because of soda kiln, particularly with reduced capacity
Found home studio limiting, want to be with
other people and learning from each other
not discussed Covid led to spacing, which reduced capacity,
other centers closing shifted users
Other 2018 Numbers: Enrollment 1,700+, Camp 367 ($69K), Creative
aging 4,900 seniors; Artists: 101 exhibit ($17k), 123 teaching; 60
resident; 94 studio/grant; 199 volunteers
2018-19 Numbers
476 exhibition artists
8,000 served (10% growth from prior year)
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National Examples
This section is inserted as a reality check of sorts, providing images and inventories from two of the most respected crafts schools in the country. On the
one hand, the committee could see this as “we don’t have to” list. This is likely true for wheels and kilns – of which Edina already has many. However,
for many of the other items it may be more accurate to see the list as one describing “what it takes to run a complete ceramics studio.” In the words of
many of the local comparison managers, “ceramics programs are not cheap.”
Arrowmont School of Arts and Crafts Penland School of Craft
Nonprofit organization in Gatlinburg, Tennessee https://www.arrowmont.org/studio-inventories/ Nonprofit organization in Penland, North Carolina https://penland.org/about/studios/clay-studio/
FYE 2019: Earned Revenue 23%; Contributed Revenue 77%
• Revenue $10,832,499; Expenses $4,765,516; Net $6,066,983
• Total Assets $31,886,412
FYE 2018: Earned Revenue 48%; Contributed Revenue 52%
• Revenue $7,648,257; Expenses $6,390,739; Net $1,257,518
• Total Assets $47,925,760
Rooms
Rooms
(Picture: Pottery Studio)
Upper clay = 30′ x 45′, capacity 20 students.
Adjoined by a large 21′ x 39′ glazing room (incl22′ x 9′ mixing lab, separately ventilated)
Lower clay = 30′ x 45′, capacity 18 students (an additional glazing and plaster- room = 15′ x 39′)
Wheels (43)
• 21 Shimpo Banding Wheels – varying sizes
• 21 electric Brent wheels
• 1 treadle wheel
Wheels (40)
• 6 Brent CXC electric wheels, reversible
• 16 Brent C electric wheels
• 5 Shimpo whisper wheels, reversible
• 1 Pacifica GT 400 wheel, reversible
• 2 Pacifica GT 800 wheels, reversible
• 2 Shimpo M-1 “Mini Master” electric wheels
• 4 treadle wheels
• 1 Brent motorized kick wheel
• 1 Lockerbie motorized kick wheel
• 2 Randall motorized kick wheels
The Best Places to Take Ceramics
Classes across the U.S.
//www.artsy.net/article/artsy-editorial-best-places-ceramics-classes
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Arrowmont School of Arts and Crafts Penland School of Craft
Equipment (1 Studio)
• Canvas covered tabletops
• Large Plaster slabs
• 2 Extruders with attachments
• 2 Slab rollers
• 4 Plaster wedging tables with wire
cutters (2/studio - 1 red, 1 white clay)
• 7 Ware carts
• Bat pins, Putty knives and scrapers
• Spray bottles, Towels
• Assorted wooden paddles
• Wooden slats
• Plaster press and hump moulds
• Wood slump moulds
• Rolling pins
• Bats – 12”, 14”, 20”
• Ware boards – various sizes
• Gypsum boards – various sizes
• Plaster Equipment: o Coddle boards - various sizes
o Commercial Molds - assortment of types and sizes o Mold straps and rubber bands
• Polymer Clay Equipment:
o 3 Faberware Convection Ovens Toaster Oven
o 8 Pasta Machines
Equipment (2 Studios)
• 18 – 3′ x 6′ canvas-covered tables
• 3 – 3′ x 6′ wooden tables
• 1 – 4′ x 8′ canvas-covered table
• 1 – 4′ x 8′ wooden table
• 1 – 3′ x 5′ canvas-covered table
• 25″ x 8′ canvas-covered cement wedging table
• 28″ x 78″ plaster wedging table
• Huge plaster wedging table
• Plaster working area
• 8′ x 7′ x 2′ dry cabinet (2)
• Bailey slab roller (2)
• North Star, Bailey, and Brent extruders
• Bluebird clay mixer
• Laguna spray booth
• 24″ x 24″ sand blaster
• Bandsaw
• Assorted rolling pins; banding
wheels; plaster and bisque
molds; coddle boards; canvas work-boards; Plasti-bats and
Masonite throwing bats; bat pins; banding wheels; studio buckets; towels
Glaze Room Equipment & Supply:
• Ball mill with accessories
• 2 scales – 10lb cap. 2 triple beam bal.
• 3 digital scales
• 2 spray booths
• Air compressor
• High-speed blunger
• Measuring cups and spoons
• Sieves with assorted meshes
• Talisman hand-cranked sieve
• Spray guns
• Drill with mixing bit
• Dipping tongs
• Buckets - various sizes
(Picture: Pottery Studio)
Glaze Lab
• Amaco ball mill
• 1 Ohous digital scale
• 6 Ohaus triple beam scales
• A dumb waiter
(Picture: Kiln Shed)
Atmospheric Kilns (3) & Equipment:
• Soda Kiln
• Salt Kiln
• Train Woodfire kiln
• Kiln shelves - silica carbide
• Stilt/Brick posts
• Silica Carbide Shelf Scapers
• Garden sprayer with metal tips
• Angle grinder
• Masonry chisels
• Pyrometer
• Thermocouples – salt, soda, wood
Kiln Room (8) & Outdoor Equipment:
• 2 small electric test kilns (Paragon and Skutt)
• 5 Medium electric kilns – 9 cu ft (Skutt, Amaco)
• 1 Large oval electric kiln – 35 cu ft (Olympic)
• Geil up-draft gas kiln – 18 cu ft
• Stilts – from 1⁄4” to 16”
• Shop vac
• Bench Grinder
• Hot box
• Safety Goggles, Welding gloves; High temperature fiber gloves; Face shields; Welding goggles
Potter-Designed Hand-built Kilns (10)
• 1 – 3-chamb. anagama/noborogama hybrid wood
• 1 – small-ish tube wood
• 1 – 65 cu ft sprung arch/down-draft salt/soda
• 1 – 16 cu ft cross-draft soda
• 1 – 16 cu ft down-draft salt/soda
• 1 – 65 cu ft down-draft/sprung arch reduction
• 1 – 15 cu ft down-draft/sprung arch reduction
• 1 – 2 cu ft down-draft reduction test
• 2 – 3′ x 3′ x 3′ fiber-lined raku
All gas kilns listed are powered by
propane, with Ransome venturi style
burners that include a Baso valve safety
system.
Our electric kilns include (19):
• 1 small test kiln
• 1 – 18″ round kiln
• 6 – 23″ round kilns
• 3 – 26″ round kilns
• 3 large oval kilns
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Field Recommendations
Facilities
This section is a recap of specific advice provided by the interviewees on all things from studio design to program policies.
Choice of Facility
Some of the themes that emerged when we asked about choosing a location were predictable: convenience (access for users) and plenty of parking. Another
might be less obvious: stand alone is best. Why? Green space for outdoor events and as buffer especially if atmospheric, raku, or pit firing is planned.
• Type of building. Notably, the worry was not about the aesthetics of the space but rather the function, flexibility, and control. One emphasized this with:
“Get over the building. The people and programs make it. It has to function.” “As much control of the facility as possible is huge” for safety and success.
o From that perspective industrial or warehouse is more flexible (fewer partitions), allowing the space to adapt to changing need and offerings.
o When we specifically discussed strip mall and retail settings, one said to avoid them. To elaborate, another said that “most strip malls may have
the space but not the function.” That function includes a number of the interior items that follow (e.g., ventilation, lighting, high ceilings, wet
space).
• Security. Finally, carefully consider security. Location impacts exterior security concerns. And if you plan on open studio access your approach to door
locks and staffing will need to tighten.
Design Process
Three of the interviewees expressed strong views about the design process, regardless of location.
• Focus on function. The first was the importance of involving those running/using the space as early as possible versus leaning on the architect. This ties to
the aesthetics mentioned above but more importantly the need to focus on function and avoid common design mistakes.
• Focus on the business too. The second emphasized the importance of a business or operations eye to any project versus (or maybe in addition to) that of
the potter. (Notice how this pairs with the prior view.)
• Take care when retrofitting. Finally, a warning that “retrofitting existing space is extremely difficult.”
Interior Spaces
As with choice of facility some of the themes that emerged when we asked about interiors were predictable to someone engaged in ceramics but may be less obvious to others. The most important of these included:
• Wet clay splatters; dry is dusty; and the dust is bad for you. A functional studio must be set up for daily wet mopping or spray-down. That means LARGE utility sinks, wall spigots, floor drains/troughs, concrete or similar floors, washable walls, movable furniture (everything on wheels that can be), proper ventilation (not ceiling fans blowing dust).
• Kiln rooms need to attend to electricity, heat, ventilation, fire suppression, and access controls. Insufficient electric capacity is a common mistake that will lead to blown circuit breakers and risk fire from
overload. The heat generated by gas, reduction, and related kilns will be too much for the computers in electric kilns, which means that they should be in separate rooms (also a common mistake). The heat and
exhaust can trigger a sprinkler system, so other fire suppression measures are recommended. Different types of kilns and fuels exhaust different chemicals and need to be vented accordingly. For all of these
safety reasons as well as quality control over the firing process, kiln rooms should be off limits unless loading/unloading is part of a class. Taken a step further, kilns should be in rooms by themselves (no racks
etc.) if at all possible.
• Glaze rooms depend on your approach to mixing. These should be adjacent to studios for convenience of moving dedicate pieces. The “mistake everyone makes by at least 50%” is
• making this space too small (example of 12’ x 15’ room as one such mistake). It needs room for movement, for spraying, and now for distancing. Without enough space, it becomes a congestion point that slows
down students and potters which leads to accumulation of works in progress. The glaze process could require as many as three spaces: a mixing room with separate ventilation, a work room, and secure storage
for back supply of chemicals. If a center decides to only allow glazes that have been pre-mixed off site (purchasing commercial glazes or having Continental Clay mix to the center’s recipe) the need for space and
separate ventilation goes down.
Common Mistakes
• Ambitious retrofitting
• Insufficient lighting and sink size
• Gas and electric kiln in same room
• Not having separately locked and ventilated kiln,
glaze, and grinder spaces
• Prioritizing design/pretty over function/safety
• Not having floor drains
• Not building for flexibility
• Underestimating:
o Glaze and storage space needs
o Cost of equipment maintenance
o Electrical and HVAC needs
o Safety needs, especially open access
o Marketing needs
Industrial Hygiene in The Pottery Studio
Understand the health risks in the pottery studio
and learn best practices for making a comfortable
space to create.
Links to other safety resources in Appendix.
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• Everyone always wants more studio space. Design with enough space for the equipment you have, the types of classes you want, the right number of studio potters, and all of the tools, supplies, clean up, and
movement they need. This should include both throwing, hand-building, and pouring methods. However, do not assume that the current demand suggests doubling or tripling capacity. We won’t know what the
“real” demand is for a year or two after things settle down again.
• Take care calculating storage needs. Each stage of creation, glazing, and firing requires separate rack space. Clay and glaze chemicals need space, as do mixed clays, kiln furniture, tools, etc.
• Each of the above items suggests that higher ceilings are better. They dissipate heat, provide space for ventilation systems, and have more room for lights.
• Speaking of light… There can never be enough lights, industrial lights, not office lighting. Northern exposures are likely better than southern ones when you consider heat as well as light. Garage doors to open
for more light are fun ideas, but think through the HVAC implications as well as dust, critters, and security. Last, avoid basement studios if you can. No one likes them.
• Think carefully about the “pretty” parts of design. A wall of glass is pretty, opens up a space, and allow pedestrians to see the work taking place – good marketing. But if they are close to wheels or sinks, they
will get splattered. There is nothing inherently wrong with that, but it is one example of the need to think things through.
Outdoor Space
Considerations related to outdoor space include but are not limited to the following:
• Ventilation of fumes from the building, and a sufficient perimeter for outdoor kilns considering smoke/fumes as well as heat and combustion
• Plans for outdoor workspace; classes, sales, or other events; future expansion, gardens, or seating areas; public art; or tie ins with other parks and recreation amenities
Programming
Interviewees described a range of approaches and program choices to consider, each with facility, staffing, and marketing implications. Those choices include at least:
Purpose The centers describe their purpose in various ways, that focus their approach and programming as either a community center, a teaching institution, a professional studio, or other model:
• Advance the ceramic arts for artists, learners, and the community
• Make the visual arts available and accessible to people of all ages, interests and abilities
• Foster a collaborative environment where talented artists from multiple generations and career stages can mentor and learn from each other
• Provide the space and equipment to allow clay artists and potters of all levels to explore their creativity and work in a supportive environment
The current Edina mission is to provide the community with a place to view exciting exhibitions, enjoy artistic and cultural events and a place to learn how to express their creativity through artmaking.
Dedicated
Studios
The center providing dedicated studio space for individuals discussed the importance of its shift from leases to licenses in maintaining control over the spaces, especially during the pandemic.
Open Studio
Access
There are mixed views about open studio access, tied to purpose above. All agree that it is in high demand. However, it brings a number of (primarily safety, liability) considerations:
• The need for more specific use and safety policies
• The need for reservation / sign up systems
• Decisions regarding staff monitoring or unstaffed access
• Control over who has access (adult only, orientation only, a certain skill level)
• Control over types of clays and glazes allowed; Control over cleaning and rack, glaze, or firing mistakes; Access to glazes and kilns
Fired Up provides 24/7 key card access, while Northern Clay depends on staff to monitor. (“We have open studio as much as we can with staff in building 6-6 and weekends 9-6.”) MINNETONKA
CENTER FOR THE ARTS only allows open studio for current students, and Artistry has just added open studio access to its program.
Glaze Mixing Historically, the Edina Center has mixed its own glazes on site. Doing so requires additional space, ventilation, and safety measures. Many of the comparison centers do this as well. However, Fired Up’s
focus on consistent user experience with limited staffing and overhead has led them to have Continental Clay do their mixing. It is a pragmatic business decision that might disappoint users.
Kiln
Maintenance
Kiln maintenance has two elements.
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• First, most need periodic part replacement (controls, elements, thermocouples). The comparison centers emphasize this point when they note that they are “always working” on a few and urging
that Edina make the up-front commitment to actively maintain kilns. Fired Up goes a step further by replacing all elements in a kiln if one needs replacement (similar theory to tires on a car).
• Second, is the more regular maintenance of cleaning/grinding kiln furniture and walls, and kiln wash of shelves. This takes time, skill, and equipment. Most do it in house. Narrowing kiln offerings
reduces this work (e.g., no soda). And Fired Up has Continental Clay do the rest.
Cleaning Studio cleaning is an important piece of the puzzle. Centers should wet mop daily to contain clay dust in addition to spraying areas down and other equipment cleaning. Using the wrong clay or glaze
can also result in additional cleaning or racks or kilns.
Safety Certainly, most safety protocols are universal. And even professionals can make dangerous mistakes. However, there are some choices that the Center will need to make. For example, some centers do
not allow students/members to touch kilns (or grinders or glaze) at all. One interviewee mentioned that it was their impression is that “we [comparison center] keep a shorter leash on the soda kiln
and what folks can do” elsewhere.
Program Staffing
With the obvious exception of Northern Clay, the comparison centers have limited staff dedicated to their ceramics programming.
However, they benefit from centralized administrative and facility maintenance staff, and employ hourly instructors as discussed.
The conclusions to draw here are that
• Any ceramics program should have at least a studio manager, evening/weekend assistants, daily maintenance, and part time instructors.
• If the City is concerned that a studio manager cannot do all of the following, then it would need to consider a larger staffing model: 1) overseeing the enterprise as whole (budget, facility, etc.); 2)
programming and scheduling, including recruiting and managing instructors; 3) safety; 4) marketing; and 5) managing the technical aspects of the studio (firings, equipment maintenance, supplies).
• Some of the technical elements could be contracted out to a company such as Continental Clay or Master Builders (e.g., kiln maintenance). Others could be supported by local experts.
Market
Overwhelmingly, those interviewed describe an active and consistent if not growing interest in ceramics across the Twin Cities. Some caution against overbuilding to the moment but do not discount the overall demand.
“There is always a list of folks looking for access to kilns and equipment” in part because they do not, cannot, or are afraid to have them in their homes. The general message is that providing the equipment in a
welcoming, safe place with access will draw users.
That doesn’t mean staff can avoid marketing. In fact, some Centers have been aggressively upping their marketing capacity (staff, skill, social media) to keep things going during the pandemic. Those providing
classes online or sales have had to do even more.
When asked specifically about the Edina Arts Center and programming, they admitted concerns about the facility and its safety. “Either invest in maintaining the equipment or exit.” Future programming needs financial
and administrative support before restarting. It is expensive programming that requires hard work and time investment. In addition, they pointed out that:
• Their centers have gained past Edina users during the shut down
• The only negatives they have heard about the Edina program was about distance to drive, especially in the snow.
• Individuals sometimes feel more constrained at other centers than at Edina
• Individuals particularly value access to specialty kilns
In the end, there are two sets of users to consider: 1) serious clay program users who get attached to their preferred Center and commit for the long term; and 2) users more focused on periodic education, of which
there are several subsets.
Staffing Clay
Northern Clay Entire organization dedicated to clay
Minnetonka Center for the Arts Studio Manager + assistants (apprentice model)
Artistry Studio Manager (30 hours/week)
Fired Up Studios 3 PT (1 admin, 2 clean/stock/monitor)
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Options to Consider
Sites Explored
This section provides an overview of the sites that have been explored in 2021, largely based on site visit observations. While some are no longer available, each is a standard Edina area location type. Each of the sites
have advantages and disadvantages, some apparent in the table above and others less so. Here is an initial summary from my perspective. I would be hesitant to recommend Retail 1 or 3 or similar sites. (Note that
delayed access – if plan is for a full program – suggests developing an interim plan to keep people interested and access to at least some experiences.)
Observations
Fire Station Retail 1 Retail 2 Retail 3
Pros Owned, control; Lower operating costs; Significant green space; Links to trail and YMCA; High visibility Some green space; Link to trail Flexible interior; High ceilings, square feet Natural light; High pedestrian traffic Quirky space; High pedestrian traffic
Cons Retrofitting space; Delayed access Leased, low control; Retrofitting space; Lose access
in short time
Leased, low control, high $; No green space; High
pedestrian traffic
Leased, low control; Small, quirky space; No green
space; High pedestrian traffic
Unknowns Square footage, Current condition Square footage, Current condition Availability Public response to parking/drop off
Side-by-Side Comparison
Basics, Cost & Time Considerations
Location Next to YMCA Near Southdale Centennial Lakes area 50th & France area
Building Traditional fire station Multi-tenant strip mall Commercial-Preferred Commercial-Preferred
Parcel (Interior) 4.55 ac / 198,118 sq ft (Various suite sizes) (12,000 or 18,000 sq f) 0.18 ac / 7,907 sq ft
Facility Ownership City-owned Commercial Lease Commercial Lease Commercial Lease
Anticipated Cost Renovation & Ops only $$ $$$ $$
Availability Delayed access 2-3 y Limited duration 3-5 y Competitive market Competitive market
Condition In use as designed unknown Stripped interior Recent renovation
Room for Growth Yes Maybe No No User & Marketing Considerations
Street Visibility Easy to find; High potential visibility Easy to find; Low street visibility Need to know area Low/No Need to know area; Low/No Accessibility 2 story Single level 2 story, elevator Multi-level, partial elevator
Transit Stops Routes 537, 538 Routes 6, 537, 538, 578 1-2 block walk Routes 6, 46
Foot Traffic From trail only Trail, low bus density Trail, mid bus density Neighborhood; high bus.
Pick Up / Drop Off City trail access; Adjacent parking lot City trail access; Adj. parking lot City trail access; Adj. parking garage Busy street; Lacks drop-off sight lines
Parking Capacity Moderate - surface Moderate – surface Significant – garage Moderate – nearby ramps Drawing on Field Recommendations
Flexibility of Space Mix large/small spaces Unknown Large open space Awkwardly divided Control High Likely low Likely low Likely low
Ceilings & Light Mix height; Windows and bays Average retail height; Limited at present Very high; Window across 3 sides Average retail height; Street, alley, skylight
Ext. Ventilation All sides To back, low ped. traffic To trail or parking Only to ped. walkways
Exterior Kiln Space Various Adj. to trail or rear Adj. to trail or parking None Green Space Large Small Large None
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Program Portfolio
Classes, Camps & Workshops
The base of any pottery program is instruction. This can be the primary focus of the studio simply an element of it. Classes typically run for 4, 6, or 8 weeks at a time with
2–3-hour sessions. Workshops are generally 1–2-day offerings from 2-4 hours at a time. They can be based on projects (bowls), techniques (hand building or wheel
throwing), stages of pottery (glazing or firing), specialties (raku or soda), even on theory or chemistry. They can be all ages or designed for youth, adults, or seniors. They
can be for individuals, couples, families or groups. They can also be accessible to beginner, intermediate, advanced, or all skill levels (definitions left as used by Edina).
Experience in the field is that there is interest in all of these versions, particularly if offerings include evenings and weekends in addition to during the weekday. And of
course, summer camp offerings for youth are a mainstay of any parks and recreation program, arts included.
Open Studio Access
This provides individuals with time in the studio,
use the space, tools, and equipment to work on
projects and develop skills. It is usually self-directed
time; though some models have a teacher present
to assist similar to study hall in high school. There
are models in which individuals have access
without monitoring and ones that are always
monitored – from unscheduled 24/7 access to
scheduled access within specific time blocks. To the
right is an example of the Center’s schedule before
the pandemic. There are good reasons for each
version based on the skills of the users, the
supportive or independent culture of the program,
and the risk tolerance of its operators (are policies
sufficient for safety?).
As Edina considers its approach going forward, it is
clear that some open studio access is a necessary
element for all but the shortest, most basic classes. This allows students to practice class skills or
complete homework. As students progress, classes advance learning but only practice advances
technique. For this reason, studio access is always in demand by everyone from the beginner to the
advanced potter. They can fill the demand by creating an at home studio, but this is costly, can be
risky, and can have permit implications. So, they seek out other options. When they do, they are
looking for an affordable, well supplied, welcoming, safe place to work alone or with friends. Sharing
practice tips is always an interest among artists.
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One-Off & Value-Add Elements
Once instruction and studio elements are in place, a program is limited only by its capacity and creativity regarding other program elements. For example:
• Open House or Taster events can invite the community in to see the studio, handle equipment, and see demonstrations to build interest.
• Guest “masterclass” or “one night only” events with acclaimed artists can attract students who want to see an expert in action and advanced potters who want to interact.
• Private parties can be opportunities for youth birthdays or corporate team building while creating something like the Wine & Canvas model for painting.
• Fully equipped facilities can be rented out on a regular schedule for:
o Independent instructors to provide private lessons without having to invest in a studio to support that part of their income.
o Groups of potters get together as would a knitting circle or book club.
• The community can come together the way Empty Bowl (http://emptybowls.com) events have shown across the country – making bowls to support food or housing charities.
• Sufficiently large and well-staffed facilities might be able to provide dedicated space for individuals. Of this list, this is the only one that doesn’t seem to fit the City goals because it is about limited versus
expansive access. Community education, access and engagement combined with access for serious users (v. professional studio infrastructure) would align.
Gallery & Retail
Finally, there is always talk of whether or not to include gallery or
retail space. The truth is that most programs benefit from being
able to sell tools and materials (retail) in support of classes. This
may only require some extra storage space and additions to the
point-of-sale system.
The gallery space can be a year-round element of a program with
all the bells and whistles. It can also be display cases along a wall
or clearing out the studio for a week or two now and again and
using it as the gallery for exhibit or sale.
Pop up shops are certainly plentiful around the holidays for many
communities. To the right is one such example with close ties to
the Center (https://www.purpledoorpotters.com).
A sample of others:
• Artists Circle Festivals
• Chicago Avenue Fire Arts Center
• Lake Minnetonka Studio Tour
• Minnesota Art Pottery Association (MAPA)
• Minnesota Pottery Festival
• Northrup King Building (various studios)
• River Valley Potters
• The Workshops Minneapolis
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Supporting Structures
Volunteer Board: In 2012, the Edina Art Center had a volunteer board that supported its work in a variety of
ways. (See description to the right, excerpted from the Sutton + Associates report.) That board has since
become the Arts & Culture Commission. Edina could consider ways in which the ACC re-engages in some of
those support tasks.
Nonprofit “Friends of”: Alternatively, Edina could consider creating a supporting nonprofit. This was
considered in 2012 and put on hold while other changes were made. (See table to the right, excerpted from
the Sutton + Associates report.) There may now be an opportunity to revisit that model. Hopkins has done so in
recent years as described below.
Friends of Hopkins Center for the Arts (HCA) 2016 2017 2018 2019 2020
This is a volunteer run nonprofit organization
that builds awareness of and supports a
vibrant Center.
The mission is reached by:
• Reaching out to partner/collaborate with the community
• Sponsoring, planning and organizing events
and projects that support building and
engaging Center members
• Serving as ambassadors of the Center
through personal and social media
marketing to build awareness and ‘buzz.’
Revenue Membership $19,850 $22,363 $17,503
Contributions $42,133 $61,947 $16,049 $26,578 $23,847
Program Fees $4,610 $3,990 $7,436 $6,463 $5,461
Spec Evts (net) $5,750 $9,482 $18,591 $10,139 Misc. $4 $6 $7,007 $9,759 $12,301
Total $52,497 $75,425 $68,933 $75,302 $59,112
Expense Grants to HCA $39,809 $30,250 $38,971 $40,001 Everything Else $16,824 $12,110 $19,324 $20,942 $31,254
Total $56,633 $42,360 $58,295 $60,943 $31,254
Surplus (Deficit) ($4,136) $33,065 $10,638 $14,359 $27,858
Balance Sheet Assets $28,551 $61,616 $72,254 $86,613 $115,824 Liabilities $ 1,353
//www.hopkinsartscenter.com/165/Become-a-Member Form 990 data: //projects.propublica.org/nonprofits/organizations/411778283
Doing so could provide a pottery-focused program with marketing support as well as volunteers to engage in
fundraising activities. However, we would assume that program staff would need to spend at least some time
supporting the organization as well. The question is whether or not the potential gains would exceed the time
spent.
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Additional Profile Data
Artistry Theater & Visual Arts
https://artistrymn.org/clay-lab, 1800 W. Old Shakopee Road, Bloomington, MN 55431
Clay Lab (Open Studio)
Clay Lab is not instructor based. Instead, students will be able to sign up for a 3-hour time slot during open building hours to independently utilize the clay studio in a safe way, with proper social distancing. Sign
up/registration will close 12 hours before the start of each individual session. Time slots are reserved at $35/per 3-hour session/student, and we will be placing a very serious emphasis on safety, with guidelines below, so
you can focus on your art, without worry.
• A limited number of students will be allowed in the studio at any given time to allow for proper social distancing. We will not allow for the studio to get "overbooked," so you won't have to worry when you come
to your Clay Lab.
• Artistry will be following a strict, regular sanitizing regimen, as well as provide access to cleaning products for students to sanitize their space before and after use.
• All students will be required to wear a face covering that fully protects the nose and mouth, per the City of Bloomington's mandatory policy, which will be enforced in any part of the building at all times.
Participants should expect to ultimately book 2-3 sessions in order to have time to throw, trim, sculpt, refine, glaze, and otherwise finish their work. Clay and glaze firing tickets will be additional purchases thru the Clay
Studio Office, adhering to social distancing guidelines.
To reiterate, this a new style of programming which will not be class-based, but rather will be an open studio style opportunity.
Instructors will not be present for demonstrations. Chris Singewald, Clay Studio Manager, will be available for clay sales and
firing ticket sales, as well as to answer any technical questions about studio clay, studio glazes, and firing timeline.
Classes
Four offered during fall 2021:
1) A Beginning,
2) Dusting Off The Rust,
3) Stretching And Warming Up, and
4) Welcome Back
Cancellation Policy
• Artistry cancelation due to lack of enrollment: 100% Refund
• Participant cancelation within 2 weeks of program: NO Refund
• With at least 2 weeks’ notice: FULL Refund less a $15 processing fee
All materials for adult classes, unless otherwise noted, must be supplied by
students at their own expense.
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Fired Up Studios
https://www.firedupstudios.com; 1000 Boone Ave N Suite #380, Golden Valley, MN Membership Policies & Benefits
Membership is designed for ceramic artists who need access to equipment and a place to work.
Memberships include:
• 24-hour, 7-day-a-week access
• Cone 06 Bisque firing
• Use of numerous Cone 6 and 10 glazes and slips (approx. 30 glazes).
• 24-hour, 7-day/week access to glazes, spray booth, and banding wheels
• Display space (up to 10 pieces, 60% of sales credited to account)
• Space in annual holiday open house
Not Included in Your Membership
• Cone 6 / 10 glaze firing: charge for the sq ft put through the glaze firings
• A few types of clay available for purchase in 25 lb. bags, may buy your clay from other sources
• Kiln Shelf Accidents $1 min per offending piece.
• $50 min for damage to the kiln shelf if the clay body "melts down"
• Most of the common tools you will need, you should purchase yourself
• Spray Booth users wear a respirator that is rated to catch organic vapor
• A fee of $35/person/day for guest whether are watching or helping
Membership Requirements
• Fired Up Studios is an adults-only facility, must be at least 18 years of age.
• Unless enrolled in one of our classes, must have taken at least one pottery class outside of high school.
• You need to know basic skills in order to … be able to work independently without instruction.
• If you use clay or glazes that are not provided at Fired Up, you must guarantee that the clay and glazes ...
• You must clean up after yourself, leaving all areas you have used clean and ready for the next person.
• You must respect other members' work, time and space.
• We request that you pick up your work (bisque and finished) in a timely manner (preferably within week).
Fee Structure
Studio Membership Firing Membership
One-time Set-up Fee $50 new members, $25 returning members same
Key Deposit $50 same
Membership Fee • $125 Basic Membership (1/3 of a rack)
• $190 Advanced Membership (1 full rack)
• $210 Shared Semi-Private Studios
• $250 Semi-Private Studios
$50 monthly
$540 annually
Glaze Firing • Base Rate: $12 per square foot (maximum size: 2 feet in any dimension)
• Add $5 per item over 9" tall but under 12" tall
• Add $10 per item over 12" wide/tall but under 18" wide/tall
• Add $15 per item over 18" wide/tall but under 24" wide/tall
• Stuffers (items under 3" in any dimension): ¼ sq. allowed at no fee, add $1 / addl ¼ sq.
___
Monthly rate includes 1/3 of a rack (one full shelf plus 1/3 of the top and bottom shelves; max 3 people/rack). May rent an entire rack or a semi-private studio space when one becomes available. Semi-private studios may be shared by two members. Semi-private studios are special sections of the studio area that include several racks, a worktable, and space for a wheel.
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Minnetonka Center for the Arts (MCA)
https://minnetonkaarts.org, 2240 North Shore Drive, Wayzata, MN 55391-9347
From its beginning more than sixty years ago, the purpose of the Minnetonka Center for the Arts has been to make the visual arts available
and accessible to people of all ages, interests and abilities. We believe in the value of art making and art appreciation. Art not only
transforms materials – wet clay and paint, blank paper and dusty stone, molten bronze and rusty metal – it transforms lives.
Financial History (entire Center) 2018 2019 2020 Revenue
Program Fees $875,389 $986,273 $751,315
Membership $57,480 $60,560 $49,995
Contributions $155,133 $185,099 $348,839 Government Grants $117,710 $78,748 $88,996 Investment/Interest $7,714 $8,649 $5,639 Special Events (net) $1,833 $9,353 Rentals $1,500 $1,000 $1,000
In kind / Non-cash $2,793 $613,048 $11,480 Misc. $63,601 ($72,142) $58,008 $1,283,153 $1,870,588 $1,315,272 Expense
Program $1,091,132 $1,209,816 $921,959
Administration $326,645 $319,935 $372,213
Fundraising $56,096 $86,181 $50,692 $1,473,873 $1,615,932 $1,344,864
Surplus (Deficit) ($190,720) $254,656 ($29,592)
Balance Sheet
Assets $4,749,812 $5,131,770 $5,042,472 Liabilities $180,948 $302,535 $241,921 Net $4,568,864 $4,829,235 $4,800,551 Grant Details
MSAB Operating $67,430 $78,748 $79,216
MSAB Wells Fargo $1,090
Sources: https://projects.propublica.org/nonprofits/organizations/410804989a
Memberships & Fees Basic Friend Sponsor Patron Memberships $60 ($55 62+) $100 $250 $1,000 10% class discount, all household members x x x x
Invitations to special exhibit openings and events x x x x
Eligibility to enter Members’ shows and exhibits x x x x Higher commissions on member-events art sales x x x x $10 discount on membership at the Walker Art Center x x x x Coupon for a free coffee and baked good in the Cafe x x x
Free lunch for 2 in the Cafe x x
Free use of the Henrietta Murphy Room once a year x Special acknowledgement on our Patron’s Plaque x Discounts
New Student (10% off first class) Non-member, never taken a class
Does not apply to materials, fees, summer camp, birthday parties, or subsidized classes
Early Registration ($5 on a 4-wk; $10 on a 5-wk or+) Currently enrolled students, 1x, next session only, before reg deadline Member (10% every class)
Walker (5% off membership) Walker Art Center members
Fees Member Non-Member
Birthday parties $145 (1-10) / $270 (11-20) $165 (1-10) / $300 (11-20)
Exhibition / Consigned Works
• 60% of the net retail selling price will be paid to the Artist if the Artist is a member (throughout the run of the exhibit) or 50% if a non- member.
• Percentages do not include sales tax, which will be collected by the Art Center.
• For 60 days following the end of exhibit, any commission resulting from the display or a referral by MCA entitles it to a 20% referral commission. Cancellations / Refunds
• The Art Center charges a $5 fee for each cancellation or transfer to cover administrative costs.
• 100% refund (minus administration fee) for cancellation one week or more prior to the class start date.
• 50% refund (minus administration fee) for class cancellation less than one week prior to a class start.
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Northern Clay Center
https://northernclaycenter.org, 2424 Franklin Avenue East, Minneapolis, MN 55406
Opened in 1990, Northern Clay Center is now
an established ceramic arts organization.
Through special programs, lectures, symposia,
and publications, we reach a national and
international audience, as well as a direct
audience of regional participants. Other
programs, …, bring national artists to the region
...
Ongoing programs include exhibitions by
contemporary regional, national, and
international ceramic artists, as well as
historical and architectural ceramics; classes
and workshops for children and adults at all
skill levels; studio space and grants for artists;
and a sales gallery representing many top
ceramic artists from the region and elsewhere.
Facility
• Affordable studio space for resident ceramic artists for one to ten years
• 24-hour access to facility and equipment, including kilns (gas, soda, electric), glaze-mixing room,
wheel classrooms with 44 wheels, hand-building classroom with slab roller and extruder
• Private studios: 95-210 sq ft; 1-year licenses, renewed annually; on a competitive, juried basis
• Shared Community Studio: 35 – 72 square feet of vertical storage space and use of common
worktables, wheels, slab roller and extruder.
Artist Studios
The facilities are designed to allow ceramic artists to work in an environment that encourages individual
expression and artistic growth. NCC strives to include a mix of artists, spanning different stages of
experience and specific expressions in clay. We aim for a lively working environment, where artists are
encouraged to develop and exchange ideas with their peers. One of the ways NCC facilitates growth is
through a unique accountability agreement which promotes activity in areas of professional development,
advancement, and service. To:
• Address the needs of individual professionally-minded ceramic artists by providing working space
and facilities, artistic development, income from their profession, and public exposure
• Support a creatively rigorous atmosphere, which fosters critical dialogue in a dynamic community
Eligibility: Northern Clay Center encourages applicants who represent the full range of artistic styles, and is
committed to supporting a diverse pool of artists whose work demonstrates strong artistic merit and
initiative. Accordingly, we strive for our studio program to represent, as possible, artists that are diverse in
genre, expertise, gender, race, ethnicity and geography. A college degree or professional training are NOT
required to apply for this, or any NCC program or grant. We encourage applicants who would like to make
clay and creativity a continuing part of their lives and development, even if they do not or have not pursued
it in a post-secondary institutional setting.
Selection Process: Applications submitted for space within the shared studio are accepted on a first-come,
first-served basis. While applications may be submitted at any time, it is common for there to be a waitlist
for a space to become available. Should there not be an opening at the time of your applications
submission, you will be placed on the waitlist and contacted when you are next in cue for space in the
shared studio.
Applications for private and
semi-private studio spaces
are juried on an as needed
basis. Consisting of current
representatives from the
studio program, NCC staff,
and professionals working in
the field, panelists convene to
discuss and select applicants
to occupy vacant studio
spaces within the program
and alternates for those that
become available before the
next jury date. During the
review process, panelists will
collectively review all of the
submitted materials and
discuss each application to
determine the strongest
candidates and the greatest
potential impact on both the
artist and NCC community.
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Appendix
Glossary
Definitions from //ceramicartsnetwork.org/Resources/Glossary and //www.jnevins.com/glossary.htm
Products / Stages of Work
• Clay: Widely occurring aluminum silicate mineral resulting from natural decomposition of feldspar and granite.
• Greenware: Unfired pottery, very fragile
• Bisque or Bisqueware: Pottery which has been fired once, without glaze, to a temperature just before vitrification
• Earthenware: Low-fired ware, usually still porous after firing—must be sealed with vitreous glaze to be functional.
• Stoneware: High-fired vitreous ware, literally as hard and durable as stone. Matures from 2200-2400° F. (cone 5–11).
Types of Firing
• Bisque Firing: Initial kiln firing in which clay sinters without vitrifying, and though very porous, will no longer soften in water.
• Glaze Firing: Kiln firing in which glazes are melted to form a smooth glassy surface.
• Atmospheric or Vapor Glazing: Any glaze process where the glaze results from vapor deposited within the kiln—includes salt glazing, soda
glazing, fuming and wood firing (where fly ash is deposited on the ware and melted into a glaze).
Levels of Firing
• Low Fire: Low-temp. firing range, usually below cone 02, for most bisque-firing and for glaze-firing terra cotta and whiteware
• Low Mid-Range: Firing range usually cone 01 to 3, useful for functional earthenware, refractory sculpture bodies, and outdoor terra cotta work
• Mid-Range: Glaze-firing range usually including cone 4 to cone 7, very popular with electric kilns
• High Fire: High temperature firing range usually including cone 8 to cone 12, for firing stoneware or porcelain.
Types of Kilns
• Downdraft Kiln: Kiln where exhaust gases exit through flue at floor level.
• Updraft Kiln: Kiln where the flame is introduced at or below floor level, and exhausted out the top
• Oxidation: Firing with a full supply of oxygen. Electric kilns fire in oxidation. Oxides show bright colors.
• Reduction: Firing with reduced oxygen in the kiln
• Pit Firing: A type of bonfire-firing where wares are buried in sawdust in a pit in the ground and a bonfire is built on top.
• Salt Firing: Vapor-glazing process where salt (sodium chloride) is introduced into kiln firebox at high temperature.
Kiln Parts & Supplies
• Cone – Pyrometric: A pyramid composed of clay and glaze, made to melt and bend at specific temperatures. It is used in a kiln to determine
the end of a firing or in some electric kilns it shuts off a kiln setter.
• Firebox: The part of a fuel-burning kiln where fuel gases combust before contacting wares.
• Kiln Furniture: Refractory posts and shelves used for stacking pottery in the kiln for firing.
• Kiln Wash: Coating applied to the top surface of a kiln shelf to protect it from glaze runs, drips and other accidents that occur in red hot kilns,
... It is also used to protect shelves from volatiles in atmospheric kilns like wood ash, or … soda kilns. …
• Spray Booth: Open-front enclosure with exhaust fan at the rear, designed to draw off overspray and other toxic dust/fumes
• Thermocouple: Temperature probe that produces variable current dependent on heat exposure—used in pyrometers and Baso valves.
Belger Crane Yard Studios, Kansas City (Top: studio, Bottom: glaze room)
https://belgerarts.org/facilities
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
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Sources
Internal Sources
Naming protocol: Year Mo Title _Source .extension
2007 Nov Expansion Feasibility _AST&R .pdf
2012 Jan Operational Analysis Proposal _Sutton .pdf 2012 May Operational Analysis Proposal v2 _Sutton .pdf 2012 Sep Operational Analysis _Sutton .pdf
2014 Dec Vision Doc _ACC .pdf 2015 Apr Space Plan Options _Shuler Shook .pdf
2015 Aug ACC BYLAWS .pdf
2015 Sep Grandview Update _Unk .pdf
2015_16 Grandview Timelines _HGA .pdf
2016 Apr EAC Mega Packet _HGA_Sutton .pdf
2016 Apr Grandview Advisory Meeting Packet _ Sutton .pdf
2016 Apr Site Options_HGA _Sutton .pdf
2016 Dec Pottery Department Layout Sketch .pdf
2016 Dec Pottery Equipment Sizes Handwritten .pdf
2016 Feb Grandview Poject Midpoint _HGA_Sutton .pdf
2016 Feb Space Plan _HGA .pdf
2016 Jan Compilation for Grandview TF .pdf
2016 Mar Space Plan Review _HGA_Sutton .pdf
2016 May Grandview Market_ OPS Analysis _pros consulting .pdf
2016 May Space Plan _HGA .pdf
2017 Jul Other Art Center Site Visits .pdf
2017 Oct New EAC Feasibility Recommendation _ACC .pdf
2018 Jul Grandview Analysis HRA Mtg (Pro Forma) .pdf
2019 Aug-Dec Binder EAC Facility Reports .pdf
2019 EAC Camps Programs .pdf
2020 EAC Program Catalog .pdf
2020 Mar Open Studio Grid .pdf
2020-23 City of Edina Public Art Plan .pdf
2021 Mar Council Retreat Art Center Discussion .pdf
2021 Work Plan _ACC .pdf
External Sources
Comparison Centers
Local
Artistry Theater & Visual Arts, //artistrymn.org
Fired Up Studios, //www.firedupstudios.com
Minneapolis Parks & Recreation Board, www.minneapolisparks.org
Minnetonka Center for the Arts, //minnetonkaarts.org
Northern Clay Center, //northernclaycenter.org
The Workshop Minneapolis, //the-workshop-mpls.square.site
National
The Best Places to Take Ceramics Classes….: www.artsy.net/article/artsy-editorial-best-places-ceramics-classes
Arrowmont School of Arts and Crafts, Gatlinburg, TN: www.arrowmont.org
Belger Crane Yard Studios, Kansas City, MO: //belgerarts.org
Penland School of Craft, Penland North Carolina: //penland.org
Ceramics Sources
General Ceramic Arts Network: //ceramicartsnetwork.org Field Guide for Ceramic Artisans: //ceramicsfieldguide.org The Spruce Crafts: //www.thesprucecrafts.com/what-kind-of-kiln-is-it-2746127 Sample Policies – Como Pottery Studio: //www.thecomo.org/pottery-studio-handbook
Kiln-Specific Continental Clay: //www.continentalclay.com
Master Kiln Builders: //www.kilnbuilders.com
Safety-Specific
Alfred Grinding Room: //www.alfredgrindingroom.com
CPSC Arts & Craft Safety Guide: //www.cpsc.gov/s3fs-public/pdfs/blk_media_5015.pdf
Digital Fire Reference Library: //digitalfire.com
Hazards in Ceramics: //www.goshen.edu/art/DeptPgs/Hazards.html
Princeton EHS: //ehs.princeton.edu/health-safety-the-campus-community/art-theater-safety/art-safety
Technical Information for Potters: //tim-thornton.com/tikiwiki/tiki-index.php
Interviewees
Mimi Kalb, Recreation Centers &
Programs Director, www.minneapolisparks.org
Kyle Rudy-Kohlhepp, Executive Director, //northernclaycenter.org :
Lee Persell, Ceramics Manager,
//minnetonkaarts.org
Beth Robinson, Owner/President,
//www.firedupstudios.com
Chris Singewald, Studio Manager,
//artistrymn.org :
FOR ARTS & CULTURE COMMISSION DISCUSSION – FEBRUARY 2022
35
Minneapolis Parks Board
The information that follows includes all of the Fall 2021 ceramics offerings through the
Minneapolis Parks Board.
While research into the Minneapolis Parks & Recreation Board was part of this, those facilities
are not included in the side-by-side for the body of this document. They are simply too different
from the other programs reviewed.
Highlights include:
• Fees and tuition appear to fit individual centers rather than a standard cost (doing the
math shows a range as low as $1 and as high as $12 / instructional hour)
• Current class offerings vary from 1-15 days and 2-44 hours
• Classes at some centers fill up quickly and have long wait lists (Powderhorn)
• Some centers focus on classes while others have significant open studio access
• Classes and open studio / punch card access are available to a variety of age groups
Age Key: A = adult, F = family, S = senior, T = teen, Y = youth (Data as of September 22, 2021)
Rec. Center Class Capacity Fees
Age Day/Hr MinMax Enrolled Waitlist Res. Non-R. Supply
Keewaydin A 121906 (6:30-9 M) 7/17.5 1-8 8 $140 $210
121907 (3:30-6 T) 8
121908 (6:30-9 T) 8
121910 (12:30-3 M) 8
126679 (6-8 F) 1/2 2-8
126631 (6-8 F)
All 127615 (take home kit) 1/4 3-30
127615 (take home kit) 5-30
Powderhorn A 122538 (5:30-9:30 M) 10/40 1-6 6 17 $145 $217.50 $50
122549 (5-9 T) 11/44 6 15 $160 $240 $50
122550 (5-9 W) 6 16
122641 (5:30-9:30 M) 6 15
MLK Y 117571 (3:15-4:15 Th) 7/7 4-8 $30 $45
117572 (3:15-4:15 Th)
117575 (4:30-6:00 T) 7/10.5
117580 (4:30-6 Th) 3-5
117582 (4:30-6 Th) 3-5
F 117573 (9:30-10:45 S) 6/7.5 0-10 $10 $15
117574 (11-12:15 S)
S 117576 (10-12 W) 15/30 5-12 3 $30 $45
117576 (10-12 W) 3
T 122638 (5-8 F) 7/21 4-8 2
122639 (5-8 F) 1
A 117579 (6:30-9 Th) 7/17.5 0-7 2 $100 $150
117571 (6:30-9 Th) 6/15 2
117583 (6:30-9 Th) 7/17.5 0-7 $100 $150
117584 (6:30-9 Th) 8/20 0-7 $100 $150
117577 (6-9 T) open studio 6/18 1-7 $40 $60
122658 (6-9 T) open studio
122130 (3-8:30 W,Th,F) punch c. 44/242 1-15 3 $70 $105
Fuller Y 122430 (5:15-6:15 T) 6/6 2-6 6 $30 $45 $10
A 122433 (6:30-8:15 T) 6/10.5 1-4 5 6 $75 $108 $15
126904 (6:30-8:15 T) 1-6 6
A/T 122435 (6-8 M) open studio 6/12 3-8 6 $62 $93
122436 (6-8 M) open studio 2
122437 (6-8 M) open studio 122439 (6-8 M) open studio 18/36 3-24 8
122827 (12-6 S) open studio 36/72 3-8
122828 (12-2 S) open studio 6/12
122828 (2-4 S) open studio 3-6
122830 (4-6 S) open studio 3-8
122831 (12-2 S) open studio
122832 (2-4 S) open studio
122833 (4-6 S) open studio
A 122129 (3-8:30 W,Th,F) priv. stu. 45/247.5 1-15 3 $70
Logan A 124431 (6:30-9 T) 16/40 0-14 $60 $90
Van Cleve Y 118104 (4-5:30 M) 6/9 2-8 $20 $30
118105 (4-5:30 M)
Date: February 24, 2022 Agenda Item #: V.C.
To:Arts and Culture Commission Item Type:
Other
From:Laura Fulton, Recreation Supervisor
Item Activity:
Subject:Annual Elections Action
CITY OF EDINA
4801 West 50th Street
Edina, MN 55424
www.edinamn.gov
ACTION REQUESTED:
Elect Chair and Vice Chair for the Arts and Culture Commission for 2022
INTRODUCTION:
Annual Elections Timeline
Each Board and Commission is required to annually elect a Chair and Vice Chair. As outlined in all Board and
Commission bylaws, Boards and Commissions are asked to hold their annual elections in February.
Election Process
A quorum must be present in order to hold elections (a quorum is half of the voting members plus one). At the
regular scheduled meeting selected for annual elections, the current Board or Commission Chair opens the floor
for nominations. Nominations will be first accepted for the Chair and a vote will take place. Then nominations
will be accepted for a Vice Chair and a vote will take place.
Once all members have had the chance to nominate a member or themselves, the Commission can take a vote.
Vote will be by hand and not by paper ballot. A member may nominate him/herself for a position. There must be
a second for each nomination. In the case of a split vote, a Board or Commission could table their annual
elections to the next scheduled meeting to allow more member input.
Office Terms
Per City Code, each appointed Chair and Vice Chair shall serve a term of one year. The term of Chair and Vice
Chair will begin on March 1 of each year. No person shall serve more than three consecutive one-year terms as
Chair of a Board or Commission. A Chair elected to fill a vacancy shall be eligible to serve three full terms in
addition to the remainder of the vacated term.
Duties of the Arts and Culture Commission Chair are:
Prepare agenda with staff liaison
Lead meeting and facilitate discussion
Date: February 24, 2022 Agenda Item #: VII.A.
To:Arts and Culture Commission Item Type:
Other
From:Laura Fulton, Recreation Supervisor
Item Activity:
Subject:Upcoming Meetings and Events Information
CITY OF EDINA
4801 West 50th Street
Edina, MN 55424
www.edinamn.gov
ACTION REQUESTED:
Receive the list of upcoming 2022 Arts and Culture Commission Meetings
INTRODUCTION:
Attached is a list of upcoming meetings and events.
ATTACHMENTS:
Description
Upcoming Meetings and Events
February 24, 2022
Arts and Culture Commission
Laura Fulton, Recreation Supervisor
Upcoming 2022 Meetings and Events
Date 2022 Meetings Time Location
Thurs. March 24 Regular Meeting 4:30 pm TBD
Tues. April 19 Joint City Council and ACC Work Session 5:30 pm TBD
Thurs. April 28 Regular Meeting 4:30 pm TBD
Thurs. May 26 Regular Meeting 4:30 pm TBD
Thurs. June 23 Regular Meeting 4:30 pm TBD
Thurs. July 28 Regular Meeting 4:30 pm TBD
Thurs. Aug. 25 Regular Meeting 4:30 pm TBD
Thurs. Sept. 22 Regular Meeting 4:30 pm TBD
Thurs. Oct. 27 Regular Meeting 4:30 pm TBD
**Thurs. Nov. 17 Regular Meeting 4:30 pm TBD
**Thurs. Dec. 15 Regular Meeting 4:30 pm TBD
* Location change – Commission meetings have been assigned to virtual meetings during the month of
February due to the increasing pandemic cases. The City Council will revaluate in February.
** Meetings adjusted due to holiday schedule.