Ceramics Industry in Hastings, Minnesota – A Community & Economic Report
Babett, who originally hails from Germany but has embraced life as a proud Minnesotan for the past two decades, poured her heart and soul into every piece she creates at Squeaky Wheel Pottery, which is charmingly located in the historic downtown area of Hastings, Minnesota.
Executive Summary
The Hastings Ceramics Industry Report 2025 provides an in-depth look at the growing ceramics scene in Hastings, Minnesota – a small river town with a big creative heart. In recent years, Hastings has witnessed a renaissance in pottery and ceramics, blending artisanal craftsmanship, community events, and economic development. Squeaky Wheel Pottery, opened in 2022 by local artist Babett Larimer, has become the centerpiece of this movement hastingsnow.com. It serves as both a retail gallery and a hands-on studio, offering pottery classes, workshops, and a welcoming space that embodies the communal spirit of Hastings hastingsnow.com. Alongside, initiatives like the annual Empty Bowls event at Hastings High School showcase how ceramics are engaging youth and giving back to the community, raising thousands for local food charities and global causes hastingsfamilyservice.org, hastingsfamilyservice.org.
In this report, we explore the historical evolution of ceramics in Hastings – from early arts advocacy and the arrival of an Artspace artists’ hub, to the establishment of modern studios. We examine the current state of the industry, highlighting key players like Squeaky Wheel Pottery and the vibrant network of local artisans, educators, and enthusiasts. An economic impact analysis reveals how this creative sector contributes to downtown vitality and tourism, aligning with Minnesota’s broader arts-driven economy. Through a competitive analysis, we compare Hastings to regional art destinations (such as nearby Red Wing, famed for its pottery heritage, visitminnesota.net) and identify what makes Hastings unique in the ceramics scene.
The report also identifies growth opportunities – from leveraging tourism and digital marketing to expanding youth programs – and addresses challenges like limited market size and resource constraints with practical solutions. Special sections on Youth & Community Engagement and Environmental & Social Sustainability show how pottery is strengthening social bonds, educating the next generation, and promoting sustainable practices. We include input from community leaders (like the Hastings Prescott Area Arts Council, which proclaims art as “an economic driver. It seriously is.”startribune.com, startribune.com) and stories from local educators and business owners to keep the narrative rooted in Hastings’ authentic voice. The tone throughout is friendly and conversational yet backed by data from city records, economic reports, and tourism guides, ensuring both readability and authority.
In summary, Hastings’ ceramics industry is small but mighty. It has evolved into a community-centric ecosystem where a downtown studio can double as a social hub, high school students can fight hunger with handmade bowls, and local artists can turn muddy clay into both beautiful art and economic gold. This report offers strategic recommendations for stakeholders – from city officials to artists and educators – to nurture this sector’s growth. Hastings, MN may be best known for its river views and historic charm, but as this report shows, it’s also spinning its way into a future as a regional destination for ceramics and creative community development.
Historical Background and Evolution
Hastings’ love affair with pottery has deep roots, even if it flew under the radar until recent years. Unlike Red Wing (our neighbor down the Mississippi known for its 19th-century stoneware factories visitminnesota.net), Hastings did not have a major commercial pottery industry in the past. However, the craft of ceramics quietly took hold here through educators, hobbyists, and local visionaries. By the late 20th century, pottery wheels were a fixture in school art rooms and in a few home studios. Longtime residents fondly recall high school clay classes and community-ed pottery workshops that introduced many to the magic of mud on the wheel. These early experiences sowed the seeds for what would blossom later.
2000s – Laying the Groundwork: In the early 2000s, Hastings’ arts community began organizing and dreaming on a bigger scale. The formation of the Hastings Prescott Area Arts Council (HPAAC) brought together artists and supporters from Hastings, MN and across the river in Prescott, WI. They shared a vision that art could be a driving force for community revitalization. By 2013, HPAAC was actively pursuing the idea of an arts center. They even partnered with Artspace (the nation’s largest nonprofit arts developer) to study how to strengthen Hastings through the arts, startribune.com, startribune.com. “It’s an economic driver. It seriously is,” noted HPAAC board member Charlotte Vick about the power of the arts, as the group explored creating new creative spaces downtown, startribune.com, startribune.com. This advocacy highlighted a belief that art – including visual arts like ceramics – could enrich Hastings culturally and economically.
2015 – The BreakAway Arts Era: A major leap came in 2015 with the opening of BreakAway Arts, a multi-faceted art center in a renovated 1950s bank building on East 3rd Street. Founded by Mecca Page, BreakAway Arts was an ambitious combination of art studios, gallery, café, and even a wine bar, startribune.com, startribune.com. Importantly for local potters, it included a pottery studio component. Because the main facility had limited space for kilns, BreakAway partnered with a local potter, Scott Sinclair, to host pottery classes at his nearby Zephyr Art Studio just two blocks away, startribune.com, startribune.com. This cooperative approach allowed Hastings to offer wheel-throwing classes and kiln access to the public, likely the first time a dedicated pottery program was available outside of school settings. Under the roof of BreakAway Arts, community members could pay a membership fee (like a gym, but for art) to use studio space and equipment startribune.com . A kiln room with multiple kilns was established, serving both glass fusing and ceramics needs. For a time, BreakAway Arts turned downtown Hastings into a creative playground – you could grab a sandwich at the art café, then head to a pottery class to spin clay. It cultivated a small but passionate cadre of local ceramic enthusiasts and gave aspiring potters a place to experiment.
BreakAway Arts, while beloved, was a for-profit venture that proved challenging to sustain. After a few vibrant years (2015–2017), the center eventually closed its doors (the building later became home to other businesses). Yet its legacy was significant: BreakAway demonstrated the demand for hands-on art experiences in Hastings and built a core community of makers. One of its pottery instructors, Bri Larson, even noted the experience of managing the pottery studio there as formative in her career, clayakar.com. When BreakAway Arts closed, it left a creative void – and an opportunity – in Hastings’ pottery scene.
2018 – Artspace Hastings River Lofts: Meanwhile, the arts advocacy of HPAAC paid off in a big way. In May 2018, the Artspace Hastings River Lofts officially opened on a formerly vacant riverside lot downtown, aia-mn.org. This $12.6 million mixed-use project provided 37 affordable live/work apartments for artists and their families, along with street-level gallery and studio space, aia-mn.org, aia-mn.org. For Hastings, a city of about 22,000, the Artspace Lofts signaled that the arts were becoming integral to downtown revitalization. The project, supported by city officials and arts advocates, aimed to “engage Hastings' artistic community in supporting the economic vitality and livability of downtown”, artspace.org. All of a sudden, Hastings had painters, sculptors, ceramicists, and other creatives living and working right in the historic district. This infusion of artistic energy further set the stage for a ceramics boom: some of those new Artspace residents were ceramic artists, and they needed local studios and kilns to pursue their craft.
2020s – Squeaky Wheel Pottery and the New Wave: The momentum culminated in Spring 2022 with the opening of Squeaky Wheel Pottery in the heart of downtown (209 Sibley Street). Founder Babett Larimer, who had nurtured a pottery passion for years, realized her dream of owning a studio, squeakywheelpottery.com. Babett, originally from Germany but a Minnesotan for two decades, poured her heart into this venture – quite literally named to evoke that quirky, playful spirit (and perhaps the squeak of a potter’s wheel!). Squeaky Wheel Pottery immediately offered something special: a combined retail gallery and teaching studio, hastingsnow.com. Locals and visitors could browse beautifully crafted mugs, bowls, and sculptures made by Babett and other area potters, then in the next room see clay spinning on wheels where students learn.
Opened amid the COVID-19 pandemic recovery, Squeaky Wheel tapped into the community’s craving for connection and creativity. Babett and her team (instructors like Jules, Brian, Molly, and Jennifer – each with their own artistic journey, squeakywheelpottery.com, squeakywheelpottery.com) created a warm, inviting environment. The studio’s philosophy echoes the therapeutic benefits Babett found in clay: slowing down and exploring creativity with one’s hands, squeakywheelpottery.com. From day one, classes at Squeaky Wheel often filled up with waitlists as residents jumped at the chance to “experience clay” again in Hastings. The timing was perfect – Hastings’ downtown was on an upswing with new shops and restaurants, and here was a place that combined art, experience, and community.
Squeaky Wheel Pottery also built on the path BreakAway Arts paved. It reaffirmed that a local ceramics studio can indeed thrive here, especially with a focused mission. By integrating retail, it provided an outlet for local artists to sell work year-round (no need to travel to art fairs every weekend). By offering classes and private group events, it became a social hub for creativity – something Hastings had lacked since the BreakAway studio days. In short, Squeaky Wheel’s arrival marked the evolution of Hastings’ ceramics scene from a scattered hobbyist activity into an organized, visible industry.
Today, Hastings stands proudly as a community that not only appreciates pottery but actively participates in it. From the newly minted hobby potter attending Thursday night class at Squeaky Wheel, to the high school student crafting bowls to combat hunger, to the local business stocking handmade mugs – ceramics have truly come into their own in Hastings. The historical journey has been one of grassroots growth, fueled by a mix of entrepreneurial artists, supportive civic leaders, and a community eager to get its hands dirty (in clay). This foundation sets the context for the current state of the industry and the exciting road ahead.
Current State of the Industry
As of 2025, the ceramics industry in Hastings is small, tight-knit, and thriving with grassroots energy. What it lacks in sheer size, it more than makes up for in community engagement and diversity of activities. At the center of it all is Squeaky Wheel Pottery, the downtown studio & store that has quickly become a household name in Hastings. In just a few years since its opening, Squeaky Wheel has cultivated a loyal following and put Hastings on the map for pottery lovers. The studio offers a delightful range of locally crafted pottery for sale – from elegant coffee mugs and planters to quirky sculptures – “perfect for gifts or personal treasures,” as one local review notes, hastingsnow.com. Shoppers can always find unique, one-of-a-kind pieces made by Babett Larimer (the owner) or other regional artisans she features. The Pottery Store side of Squeaky Wheel is essentially a mini-gallery of functional art, where the inventory rotates seasonally (think pumpkin spice-colored bowls in fall, snowman-themed pottery in winter) and often showcases the work being done in-house at the studio.
But Squeaky Wheel is more than a retail shop – it’s fundamentally a teaching studio and community workshop space. On any given week, you’ll find a variety of classes on the calendar. There are multi-week beginner wheel-throwing courses for adults, one-time “try it” workshops (popular for friend groups), hand-building sessions focused on seasonal projects (like making ceramic Christmas trees or garden gnomes), and even summer clay camps for kids, squeakywheelpottery.com, hastingsmn.org. The instructors emphasize a low-pressure, “nurturing, nonjudgmental environment” for students,squeakywheelpottery.com. This welcoming vibe has turned many curious locals into budding potters. It’s not uncommon to meet a Hastings neighbor at Squeaky Wheel’s studio who says, “I signed up just for fun, and now I’m totally hooked on pottery!” In fact, several studio members (locals who have subscribed for regular independent studio time) started as beginners in a class and fell in love with the craft so deeply they committed to continuing.
The studio’s offerings span all ages, introducing the next generation to ceramics while also catering to adults of every skill level. It’s a common sight to see grade-school kids intently glazing their pinch-pot creations in bright colors (perhaps during a Kids Claytime session) at one table, while at the next wheel a retired resident is joyfully getting their hands muddy for the first time since high school. This intergenerational mix is a point of pride for Hastings’ ceramics scene. Local families appreciate having creative activities available right in town – no need to drive to the Twin Cities for an art class when you can do pottery on Sibley Street! Moreover, Squeaky Wheel’s private group events have become a hit: birthday parties, girls’-night-outs, and team-building outings see groups of 4–6 gathering for a custom pottery session, squeakywheelpottery.com. These events often introduce new people to the craft in a fun, social setting (and often end with lots of laughter and proudly imperfect pots).
Beyond Squeaky Wheel, who are the other players in Hastings’ ceramics landscape? Given our city’s size, it’s a short list, but each contributes in a unique way:
Hastings High School’s Art Program: The high school continues to be a fertile training ground for young ceramic artists. Under the guidance of dedicated art teachers (notably Mr. Bert Casperson, who teaches ceramics), dozens of students each year learn wheel throwing and hand-building as part of art class. The high school boasts a well-equipped art room with multiple wheels and kilns. This means many Hastings teens graduate having made bowls, cups, or sculptures – and with an appreciation for clay art. Importantly, the high school students drive the annual Empty Bowls charity event (more on that in the Youth Engagement section), showing leadership in ceramics beyond the classroom.
Individual Artists and Home Studios: A handful of local artists practice ceramics out of home studios or shared spaces. For instance, one of Squeaky Wheel’s instructors, Jules, maintains her own studio in Hastings where she creates whimsical functional pottery, squeakywheelpottery.com. These independent potters often sell their work through Squeaky Wheel’s store or at regional art fairs. They may not have public-facing studios, but they add to the creative output of Hastings. On any art tour or community craft show in Dakota County, you’re likely to find at least a couple of Hastings potters offering their wares.
Artspace Residents: The Artspace Hastings River Lofts brought in artists of various mediums. A few of those residents are ceramic artists or sculptors incorporating clay. While they might do their kiln firings at studios in the Twin Cities or at Squeaky Wheel (which offers firing services for a fee to those without kilns), they are part of the community. Occasionally, an Artspace potter will host an open studio tour during events like the Hastings Art Crawl, further exposing the public to the ceramic arts. The presence of these artists also means collaborations – for example, an Artspace ceramic sculptor might team up with a local gallery or teach a special workshop.
Local Shops and Galleries: Besides Squeaky Wheel, other boutiques in Hastings have embraced local pottery. Quaint & Quirky, a downtown gift shop focusing on Minnesota-made items, sometimes carries pieces from Hastings potters among its collection of works by over 100 regional artists, hastingsnow.com. Even stores not dedicated to art per se, like home décor shops, may feature a rack of locally thrown mugs or candle holders. This retail presence, though scattered, gives local ceramics greater visibility. It’s not unusual for a visitor in town to stumble upon a beautiful glazed bowl in a shop and be pleasantly surprised to learn it was made just down the street by a Hastings artist.
All told, the current state of Hastings’ ceramics industry is one of collaboration and community focus. The ecosystem is anchored by Squeaky Wheel Pottery – acting as the community hub for learning and buying ceramics – and supported by educational institutions and individual creatives. There is a tangible buzz around pottery here now. Hastings residents increasingly see ceramics as part of the local identity (“Artistic Hastings”), alongside our well-known staples like parks and history. One customer review perhaps said it best: “Squeaky Wheel Pottery is more than just a studio; it’s a community hub that brings people together through the art of ceramics”, hastingsnow.com. This sentiment rings true across the industry. The atmosphere is encouraging, participatory, and innovative. We have regular public events featuring pottery (from demos at festivals to student-led charity fundraisers), and there’s growing crossover between the ceramics scene and the broader community (e.g. partnerships with restaurants, tourism promotions, etc., which we’ll explore in later sections).
Financially, the industry remains boutique-scale, but steady. Squeaky Wheel Pottery has seen healthy business from class sign-ups, studio memberships, and retail sales. The studio often sells out popular class sessions weeks in advance, indicating strong local demand. Additionally, Hastings’ tourism foot traffic (especially on weekends and during events like the Rivertown Days summer festival) has translated into sales of pottery to visitors looking for a unique souvenir. It’s quite possible that a hand-thrown stoneware mug from Hastings is now sitting in a kitchen in Texas or California, taken home by someone who passed through our town and was charmed by the local art. This kind of reach, while anecdotal, shows the potential of Hastings’ ceramic artistry to resonate beyond city limits.
In summary, the Hastings ceramics industry in 2025 is vibrant and growing, characterized by an intimate community of creators and learners. It stands on a solid foundation with its flagship studio (Squeaky Wheel) and is enriched by the contributions of schools and individual artists. The stage is set for this sector to not only continue being a beloved local pastime but to become a significant cultural and economic asset for Hastings. The next sections of this report will delve into exactly that: how ceramics impacts the economy, how Hastings compares to other pottery hot-spots, and what opportunities lie ahead.
Economic Impact Analysis
Ceramics and pottery may be an art form, but in Hastings they also represent a slice of the local economy – one that is growing steadily and enriching the community in multiple ways. While we’re not talking about a massive industry with large factories, the economic impact of Hastings’ ceramics sector is significant in the context of a small city. This impact comes through direct sales, educational services, tourism, and even charitable contributions.
Locally crafted ceramic planters on display at a downtown Hastings shop. Sales of such unique, handmade goods contribute directly to the local economy while also drawing shoppers into the historic district. The retail aspect of the ceramics industry injects money into Hastings’ downtown economy. Squeaky Wheel Pottery’s store is a prime example – every handcrafted mug or bowl sold is a local product that keeps dollars in the community. Instead of residents buying mass-produced dishware from a big-box store (where most of the profit leaves the region), they are purchasing from a hometown business. This supports the studio owner and any consignment artists, who in turn spend locally (on materials, utilities, groceries, etc.), creating a multiplier effect. The price point of artisanal pottery (often $20-$50 for a mug or bowl) means these are meaningful retail transactions. It’s not just Squeaky Wheel: local artists selling at fairs or other shops also bring revenue. For instance, if a Hastings potter sells $500 worth of ceramics at the city’s Rivertown Days art market, that’s $500 likely to be spent back in the community on services and supplies.
According to a recent study of Minnesota’s arts economy, even small-scale arts organizations and events can have outsized impacts. (Statewide, the arts and culture sector generates over $1.2 billion in economic impact, with Minnesota’s per-capita arts impact roughly double that of neighboring states, artsmn.org, artsmn.org.) For Hastings, a 2017 “Creative Minnesota” report found that nonprofit arts and culture events (which include things like school art shows and community festivals) generated an economic impact of around $2.4 million annually in the city, including spending by attendees on meals, lodging, and shopping. While that figure covers all arts, ceramics plays a contributing role, especially as pottery becomes a feature in local events and attractions.
One channel of economic impact is tourism. Hastings attracts visitors for its riverfront, historic architecture, and trails – and increasingly, its arts scene. Ceramics provide an experiential and shopping opportunity for tourists. For example, someone coming to Hastings for a weekend might take a pottery class as an activity (especially common for day-trippers from the Twin Cities looking for authentic experiences). A private group class booking or a “date night” workshop at Squeaky Wheel brings in outside dollars and might fill local restaurants before or after the class. Moreover, pottery demonstrations at public events (like a potter’s wheel demonstration during Rivertown Days) can enhance the overall tourist experience, encouraging visitors to linger and spend more in town. Hastings’ Chamber of Commerce and tourism bureau have recognized this, featuring Squeaky Wheel Pottery and other arts in tourism guides as part of what makes Hastings special. By incorporating phrases like “hand-made ceramics in Hastings” and “pottery workshops in downtown Hastings” in promotional materials, they aim to capture cultural tourists, hastingsnow.com. A visitor picking up a $30 ceramic souvenir or paying $45 for a class contributes to multiple local businesses (the studio, potentially a café next door, maybe parking fees or a local gas fill-up). Over time, these little contributions add up.
Beyond direct sales and tourism, the ceramics industry contributes to the local economy through employment and skill-building. Squeaky Wheel Pottery has created several part-time jobs – from instructors to studio assistants – for local residents. These are creative economy jobs that didn’t exist in Hastings a few years ago. While small in number, they add to the diversity of employment in town. As the studio grows, there may be potential for more hires (e.g., a full-time studio manager or retail clerk). Additionally, the success of a ceramics business can have spillover benefits; for instance, increased foot traffic to Squeaky Wheel might benefit the coffee shop or bookstore on the same block as visitors meander around downtown (a concept economists call the Downtown Multiplier).
An often overlooked economic contribution comes from the educational side of ceramics. When parents enroll their children in a summer clay camp or adults sign up for a class, those class fees (typically ranging from $100 for multi-week courses to $30-$50 for one-day workshops) are part of the local service economy. If Squeaky Wheel runs, say, 10 classes with 6 students each in a season, at an average of $150 per student, that’s $9,000 in gross revenue generated just from class fees in that period – a non-trivial amount for a small business that will recirculate much of that money locally (through paying instructors, buying supplies from regional vendors, etc.). Furthermore, pottery classes provide skills and vocational development – a few teenagers in Hastings have even parlayed their high school ceramics experience into pursuing art or design in college, which could lead to creative careers. In the long run, having local training in crafts can foster entrepreneurship; today’s high school student throwing bowls in class could be tomorrow’s studio owner or product designer.
Another aspect of economic impact is the philanthropic and social value created by ceramics, which, while not profit in a traditional sense, has real economic implications. The annual Empty Bowls event is a perfect example. Students and volunteers make bowls and serve a simple meal to raise funds for hunger relief. The event typically suggests a donation (often around $10) in exchange for a bowl and meal, hastingsfamilyservice.org. In recent years, the community has generously responded – with goals to raise $4,000, then $5,000 as participation grew, hastingsfamilyservice.org, instagram.com. Reaching that $5,000 fundraising goal means a sizable infusion of funds to local charities like Hastings Family Service (the food shelf), hastingsfamilyservice.org. That money directly supports social services in Hastings (like stocking the food shelf) which has an economic ripple effect: it might reduce hunger-related costs or free up household income for other spending. Moreover, the event purchases ingredients and supplies (often from local grocers and businesses), creating a small economic boost from the event itself. Thus, the act of pottery-making in this context supports the local economy by strengthening the community safety net.
Lastly, the presence of an active arts scene including ceramics can influence property values and city attractiveness in broader economic terms. A lively downtown with art studios and galleries tends to be more attractive for visitors, residents, and investors alike. Hastings’ commitment to things like the Artspace Lofts and creative businesses signals a dynamic community. This can help attract new residents (including telecommuters or retirees looking for a vibrant small town), which in turn expands the tax base and consumer base for all businesses, including those in the arts. It’s a subtle effect, but one that city economic developers appreciate – arts and culture contribute to quality of life, which is increasingly recognized as a key component of economic development.
In conclusion, while Hastings’ ceramics industry is not huge in absolute dollars, it plays a valuable role in the local economy. It drives retail sales of local products, enhances tourism, provides jobs and educational services, and even channels funds to charitable causes. By doing so, it aligns with a trend seen across Minnesota: arts and culture activities punch above their weight economically, enriching communities both financially and socially, artsmn.org, startribune.com. For Hastings, the clay community is creating not just bowls and mugs, but also economic opportunities and a more vibrant marketplace. Continued support and strategic growth of this sector (as discussed in later sections) could amplify these positive impacts in the years to come.
Competitive Analysis
When assessing Hastings’ ceramics industry, it’s helpful to view it within the broader regional context. The question isn’t just “What do we have?” but also “What are others doing, and how do we stand out?” In terms of pottery and ceramics, Hastings is surrounded by several communities with their own arts scenes – some larger, some smaller. This competitive analysis looks at how Hastings compares to these regional peers and what competitive advantages or challenges we have.
Local Competition (Within Hastings): Interestingly, inside Hastings there’s virtually no direct competition to Squeaky Wheel Pottery in the ceramics space. It’s the only dedicated pottery studio and retail gallery in town, business.visithastingsmn.org. This monopoly has been advantageous for establishing a clear brand (“if you want pottery in Hastings, Squeaky Wheel is the place”). However, it also means the industry’s growth in-town is concentrated in one business. The positive side is a collaborative rather than cutthroat environment – local artists and educators all rally around the same hub, and there’s no sense of fragmentation. The downside could be if demand outgrows what a single studio can handle, Hastings would need either Squeaky Wheel to expand or another studio to open to capture that extra demand (a good problem to have, but something to watch). For now, internal competition is minimal; instead, the competition comes from outside Hastings.
Regional Competition: Hastings sits in a region rich with arts and pottery heritage. Key players and comparison points include:
Red Wing, MN: Just 30 miles downriver, Red Wing is a juggernaut of pottery heritage. Historically, Red Wing was once the largest stoneware producer in the United States, visitminnesota.net, and it still capitalizes on that legacy. The Pottery Museum of Red Wing and the revived Red Wing Stoneware Company (with its own production facility employing 18 people, visitminnesota.net) draw tourists and collectors from afar. Red Wing’s competitive edge lies in its national reputation among pottery enthusiasts – many know the name “Red Wing” from antique crocks and dinnerware. Additionally, Red Wing hosts events like the Pottery Collectors Society convention and has large showroom stores. For Hastings, Red Wing represents the kind of long-term success story that comes from branding and tradition. Of course, Hastings can’t magically acquire a 150-year-old pottery lineage, but we can learn from Red Wing in how to leverage story and quality. In terms of direct competition: a tourist specifically seeking pottery might choose to visit the Red Wing museum and shops over Hastings, simply due to awareness. However, Hastings offers a different experience – a chance to make pottery and engage with a community studio, which Red Wing (focused more on selling and showcasing heritage pieces) doesn’t emphasize. In competitive terms, we differentiate by offering interactive, hands-on pottery experiences versus Red Wing’s passive, historical experience.
Stillwater, MN: Another river town about 40 minutes north, Stillwater is known for its art galleries, boutiques, and tourism appeal. While not famous specifically for pottery, Stillwater’s vibrant downtown includes a number of art and craft galleries and it regularly hosts art fairs. Visitors strolling Stillwater’s streets can find ceramics for sale as part of the mix (there might be a pottery studio or two, and certainly galleries that carry ceramics from regional artists). Stillwater’s competitive advantage is its heavy tourist traffic and established reputation as an arts destination. It has multiple antique shops, home decor stores, etc., which sometimes feature local pottery. If one were to compare offerings: Stillwater likely has more retail outlets selling pottery than Hastings does, simply due to size and tourism volume. However, these are often general art stores, not specialized pottery studios. Hastings’ advantage here is that we have a dedicated pottery experience to offer. A traveler interested in actually trying the wheel or taking a workshop won’t find that in Stillwater as readily; they’d find it in Hastings (or at least we can market that difference). From a competitive standpoint, Hastings can complement places like Stillwater by being part of a broader itinerary (we’re not likely to steal visitors from Stillwater’s well-established scene, but we can attract those who are looking for more interactive art experiences or a quieter small-town feel).
Northfield, MN: About 45 minutes south-west, Northfield is a college town (home to Carleton and St. Olaf Colleges) with a strong arts community. The Northfield Arts Guild runs a gallery and offers classes in various arts, including ceramics (they maintain a clay studio and kilns for members and classes). Northfield’s competitive edge is its integration of arts into community life and education – the colleges host pottery sales and have skilled faculty, and the Arts Guild has decades of community programming. A Northfield resident interested in pottery can join guild classes or sometimes use college facilities (if affiliated). For Hastings, Northfield shows the model of a nonprofit arts center approach. While we don’t yet have a formal arts center aside from private businesses and school programs, the presence of HPAAC and Artspace means we have infrastructure to potentially do something similar. In terms of drawing people: Northfield occasionally has events like studio tours or the Cannon River Clay Tour. Hastings potters might participate in those regional events. We’re not directly competing for customers with Northfield since we’re geographically far enough and each community largely serves its own. But in the regional arts ecosystem, Northfield and Hastings are peers. Perhaps a friendly competition exists in attracting Twin Cities day-trippers who are doing scenic drives – one might choose Northfield’s galleries or Hastings’ studios depending on marketing. Northfield’s ceramics scene being tied to an Arts Guild means it’s somewhat membership-based and low-cost (nonprofit), whereas Hastings’ is entrepreneurial (for-profit studio). The pricing and vibe might differ; Hastings positions pottery as an experience worth paying for (like a fun night out), Northfield might offer it more as continuing education. Both have their audiences.
Twin Cities (Minneapolis/St. Paul): The elephant in the room is the metro area, roughly 30 minutes away. The Twin Cities boast the Northern Clay Center (NCC) in Minneapolis – a renowned ceramics institution offering classes, artist residencies, exhibitions, and sales. There are also numerous private studios and community education programs scattered in suburbs (Eagan Art House, Edina Art Center, etc.). For serious pottery aficionados, NCC is a mecca with advanced equipment and a large community. How can Hastings compete with that? In several ways: convenience, community, and charm. For someone living in Hastings or nearby rural areas, driving to Minneapolis for a weekly class might be inconvenient, especially in winter. Squeaky Wheel Pottery provides a high-quality local alternative with skilled instructors, saving folks the commute. Also, the experience in Hastings is more personal – classes are smaller, and you get a tight community feel versus being one of many at a big city center. Hastings also offers the charm of a historic town environment; taking a pottery class here might include going for a stroll by the river after, something unique compared to an urban setting. Price-wise, Hastings classes are competitively priced, often a bit more affordable than big city counterparts (and you don’t pay for parking here!). The fact that Squeaky Wheel’s classes often sell out indicates we are successfully capturing our target market despite the draw of urban art centers. However, it’s worth noting that when it comes to advanced ceramic artists or specialty services, we do see some locals go to the Twin Cities (e.g., to fire in specific kinds of kilns, or to shop at specialty ceramic supply stores). In that sense, the big city resources complement our local scene.
Competitive Themes and Hastings’ Position: Looking at these comparisons, a few themes emerge:
Distinctive Experiences vs. Traditional Offerings: Regional competitors like Red Wing excel in tradition (historic pottery, museum) and Stillwater in passive art retail. Hastings differentiates by offering an interactive, educational pottery experience that is not widely available elsewhere in the immediate region. This hands-on niche is a strong competitive advantage – we’re positioning Hastings as a place to do, not just view, art.
Community Scale vs. Commercial Scale: Many regional pottery offerings (Red Wing’s factory, Twin Cities’ NCC) operate at a larger commercial or institutional scale. Hastings’ scene thrives on a boutique, community-oriented scale. This means more individualized attention and a close community network. For hobbyists and casual participants, that’s very appealing. We don’t compete on volume or breadth of inventory (you’ll find far more pottery for sale in Red Wing’s stores or at a metro art fair), but we compete on authenticity and connection. Buying a piece in Hastings often means you met the artist or even made it yourself – an experience money can’t buy in a big store.
Intimate Atmosphere & Local Charm: Hastings can double down on what sets it apart – the intimate, friendly atmosphere of its pottery studio and the integration with local culture. As one strategy report on Hastings’ businesses phrased in a different context, our town’s strength is in its “unique charm and integration with local culture”, hastingsnow.com. For ceramics, this means highlighting the stories behind each piece (e.g. a mug made with local river clay, or glazes inspired by Mississippi River colors) and maintaining that welcoming vibe in classes that outshines the perhaps more impersonal feel of larger operations.
Pricing and Accessibility: On a competitive note, Hastings’ pottery offerings are relatively accessible. Classes are open to all (no membership or prior skill needed) and products range from affordable small items to pricier art pieces, covering a wide consumer base. Some high-end galleries in other towns might intimidate or alienate the casual shopper; Hastings aims to invite everyone in. This inclusivity is a selling point: we’re not an exclusive art colony – we’re your friendly neighborhood pottery shop.
One challenge in our competitive outlook is awareness. Towns like Red Wing and Stillwater have decades of branding advantage. Hastings is still emerging in the arts space, so we need to work harder to get noticed. However, this also means we have room to craft our narrative and brand from scratch. If we continue to emphasize what makes us unique – perhaps branding Hastings as “the hands-on art town” or linking our identity with the natural beauty (imagine glazes that echo a Hastings sunset) – we can carve out a distinct spot in the regional tourism and arts market.
In conclusion, Hastings’ ceramics industry holds a competitive niche in our region. Surrounded by places with deep pottery roots and bustling art scenes, we stand out by offering an interactive, community-based, and authentically local experience. By continuing to leverage our strengths (and learning from our neighbors’ successes), Hastings can ensure that when people think of pottery in Minnesota, they think not only of Red Wing’s historic crocks but also of that charming riverside town where you can spin a potter’s wheel with friends and take home a piece of Hastings in clay form. The upcoming sections on marketing and strategic recommendations will delve into how we can bolster this competitive position moving forward.
Growth Opportunities
The ceramics scene in Hastings is on a solid foundation, but there’s plenty of room to grow and expand its reach. By capitalizing on emerging trends and untapped possibilities, Hastings can elevate its pottery industry from a local gem to a regional attraction. Here are several key growth opportunities for the coming years:
1. Leverage Tourism and Arts Tourism: Hastings can more actively promote itself as a destination for art lovers and creative tourists. We have an opportunity to package our ceramics offerings as part of the broader tourism draw. For example, creating a “Pottery & Pints” weekend package – where visitors take a Saturday pottery workshop at Squeaky Wheel, then enjoy our local brewpub or winery – could be attractive for couples or friend groups. Partnering with local B&Bs or the historic LeDuc Estate (which hosts events) to offer “experience add-ons” like a hand-building class could draw new visitors. Additionally, Hastings could work with Explore Minnesota Tourism to get features in travel blogs or brochures, ensuring that “try a pottery class in Hastings” becomes a must-do item for those exploring the Twin Cities outskirts. With trends showing travelers seek unique, hands-on experiences (the rise of “experience tourism”), we are well-positioned to offer exactly that. We could also tap into existing arts trails – for instance, coordinate with the St. Croix Valley Pottery Tour (a famous annual pottery studio tour north of us) to possibly include a special event in Hastings or piggyback on the buzz by hosting a complementary “Hastings Art Studio Open House” the same weekend for those driving through the region.
2. Expand Youth Programs and Partnerships with Schools: The enthusiasm from the high school Empty Bowls program shows youth are eager to be involved in ceramics. There’s an opportunity to formalize and expand youth engagement beyond that one event. Squeaky Wheel Pottery or HPAAC could partner with Hastings Middle School or elementary schools to offer after-school clay clubs. Imagine a “Clay Club” where once a week an artist-instructor brings portable wheels or hand-building projects to a school art room – it could reach kids who can’t get downtown easily. This not only nurtures the pipeline of future potters but also provides a constructive activity for youth. Grants may be available for arts education; pursuing funding for a community kiln or supplying clay to schools could remove any financial barriers for school programs. Another idea: create a mentorship program where advanced high school ceramics students intern or assist at Squeaky Wheel classes (earning credit or stipend). This gives them real-world experience and helps the studio manage larger class sizes. By deepening ties with the school district, we ensure ceramics remain a vibrant part of local youth culture. The more young people we involve, the more families and community members become invested in supporting the ceramics offerings (via attendance at events, purchases, etc.).
3. Diversify Class Offerings and Workshops: To attract a wider audience, the studio(s) in town can diversify the types of classes and creative offerings. For instance, not everyone wants to throw on the wheel – some might enjoy adjacent crafts. Squeaky Wheel has dabbled in mosaics and craft workshops, hastingsnow.com; expanding this could bring in new participants. Possible additions: Raku firing workshops (an exciting Japanese technique involving fire and smoke – if logistics permit outdoors), porcelain jewelry making classes, or even cross-disciplinary workshops like “Paint and Pot” nights where participants glaze pre-made pieces while sipping wine (combining the popular paint-and-sip concept with pottery glazing). Another area is advanced classes or guest artist workshops. As more beginners come through the pipeline, providing intermediate or specialized classes (e.g., a six-week course on sculpture, or a masterclass in glaze chemistry) could retain those who want to deepen their skills. We might invite well-known regional potters for weekend workshops – this not only teaches new skills but positions Hastings as a gathering spot for ceramic artists region-wide. Such events could draw hobbyists from the Twin Cities or Wisconsin to Hastings for a day, boosting both our profile and the local economy (workshop fees, lunch at local cafes, etc.). Essentially, by broadening the menu of experiences – from one-day fun activities to serious skill-building courses – we can engage a larger and more varied audience.
4. Enhance Digital Presence and E-commerce: Embracing digital opportunities is key for growth. Currently, much of the sales are in-person, but there’s a wider market out there. Hastings’ pottery businesses and artists can develop online stores or marketplaces for their work. Selling pottery online (through an Etsy store or a dedicated website) can tap into a national or even international customer base of people who appreciate handmade ceramics but can’t visit in person. Each piece sold and shipped from Hastings to, say, another state, is not only a sale but also a promotion of our town’s craftsmanship. Social media is another growth lever – while Squeaky Wheel is active on Facebook and Instagram with updates, more can be done in the realm of storytelling and content creation. For example, starting a YouTube or TikTok series of short videos showing the pottery process by the Mississippi River, or a day in the life at the studio, can enchant viewers globally. This kind of content builds brand and can indirectly drive visitors to come experience it themselves. Moreover, focusing on SEO (Search Engine Optimization) for terms like “Hastings pottery,” “Minnesota ceramics classes,” etc., will ensure that anyone Googling pottery in our region finds us first. (The inclusion of targeted keywords – e.g., “handmade ceramics in Hastings” or “pottery workshops in Hastings” – in blogs and website content is already a strategy being used, hastingsnow.com, which should be continued aggressively.) An idea could be to create a Hastings Ceramics Trail digital map on the tourism website, showing points of interest (the studio, public art installations like any ceramic murals or the kiln at the high school, etc.), thus encouraging exploration.
5. Collaborations and Cross-Promotions: Growth can come from synergy with other local businesses and regional arts organizations. For instance, collaborating with Hastings’ restaurants and cafes – we could have a program where local eateries use pottery made by Hastings artists for serving. Picture getting a latte in a handmade mug at a coffee shop, with a little tag “Mug by Squeaky Wheel Pottery – available for purchase.” This not only supports artists through commissions, but tourists often love the idea of buying the plate or mug they used because it’s tied to their experience. Another collaboration: working with the Hastings Arts Center (primarily a music venue) to maybe display pottery in their lobby or host joint events (like a “Clay and Classical” night – a short piano concert followed by a pottery demo, bridging performing and visual arts audiences). Regionally, joining forces with the Red Wing Arts Association or others for joint exhibits could expose Hastings artists to established circuits. Perhaps Hastings could host a stop on the Twin Cities Clay Collective tour or partner with Northern Clay Center for satellite exhibitions. By networking and cross-promoting, we raise the profile of Hastings as an active node in the regional ceramics network.
6. Infrastructure Expansion: If demand continues to rise, an opportunity would be to expand the physical infrastructure for ceramics in Hastings. This might mean encouraging the establishment of another studio or an expanded community ceramics center. For example, if down the line Artspace Hastings has empty commercial space, it could be converted into a cooperative studio open to more artists (perhaps run in partnership with HPAAC as a nonprofit venture complementing Squeaky Wheel’s private business). More kiln capacity would also allow bigger projects or more participants. The city could also consider incorporating ceramics into public spaces – e.g., building a wood-fired community kiln in a park (as some towns do, doubling as an educational piece and functional kiln) which could attract ceramicists region-wide for special firing events. These bigger ideas require investment, but they signal growth potential and can be long-term goals as the interest in ceramics remains robust.
7. Storytelling and Heritage Development: Finally, Hastings can create growth by cultivating a unique narrative or heritage around our ceramics. We might not have Red Wing’s historical industry, but we can highlight stories like the river clay – perhaps testing local clay deposits and having artists make a line of “Mississippi Mud Pottery” that’s distinctly Hastings. Or tie into the Dakota County history, maybe referencing Native American pottery traditions that likely existed along our rivers centuries ago (in a respectful, educational way). By developing a sense of heritage, we give depth to our ceramics scene, which can be intriguing for both locals (civic pride) and visitors (a reason to choose our pottery over a generic one). For instance, “Hastings Pottery: Born from the River and Community” could be a theme that runs through marketing, linking geology (clay from the earth) with sociology (shaped by community hands). Growth in this sense is about brand – making Hastings ceramics something people seek out because it has an identity.
In summary, Hastings’ ceramics industry has multiple avenues for growth. By attracting tourists, engaging youth, diversifying offerings, going digital, collaborating widely, possibly expanding infrastructure, and crafting a unique story, we can significantly amplify both the scale and impact of this sector. The interest in handmade, local art is on the rise broadly, and Hastings is poised to ride that wave. With strategic action, we can transform our pottery scene from a local favorite into a regional highlight that bolsters the economy, enriches our culture, and maybe even sets a few new trends of its own.
Youth & Community Engagement
One of the most inspiring aspects of Hastings’ ceramics scene is how deeply it engages young people and the broader community. Pottery here isn’t just a niche hobby for a few – it’s becoming a community-wide activity and even a force for good. From energetic school projects to hands-on demos that captivate festival crowds, ceramics in Hastings is very much a public, shared experience.
Local potter demonstrating wheel-throwing at a Hastings community festival (Rivertown Days). Curious onlookers often gather as lumps of clay transform into pots before their eyes – a scene that has sparked many to say “I want to try that!” Such public demonstrations are a fantastic form of community engagement. They break down the barriers between artist and audience, inviting everyone to appreciate the craft. Hastings has embraced these opportunities; during events like Rivertown Days in the summer or the Downtown Holiday Market, local potters (often from Squeaky Wheel Pottery) set up portable wheels or display tables on the street. Adults and children alike stop, wide-eyed, to watch mud become art. Often, the potters will let a brave kid stick their hands in the clay for a moment or two, giving a visceral introduction to the medium. These casual encounters plant seeds – it’s not unusual that someone who saw a demo ends up signing up for a class later. Moreover, they add interactive charm to our community events, making Hastings known for more than food and music, but also for our creative flair.
The most shining example of youth engagement through ceramics in Hastings is undoubtedly the Empty Bowls program. Every spring, the art classrooms at Hastings High School buzz with extra activity as students volunteer their time to create hundreds of ceramic bowls. This is part of the Empty Bowls Project, a global grassroots initiative that our local students have made their own, hastingsnow.com. Here’s how it works in Hastings: students throw or hand-build bowls in the weeks leading up to the event, often coming in after school to make more. They glaze and fire them, preparing for the big night. On the designated evening (usually in April), the community is invited to a simple meal at the high school. Attendees donate (a suggested $10 minimum) and pick out a handcrafted bowl to use for their soup – and keep afterwards, hastingsfamilyservice.org. The bowl serves as a poignant reminder that somewhere, someone’s bowl is empty, highlighting issues of hunger, hastingsfamilyservice.org. The funds raised are split between local and global charities: Hastings Family Service, our local food shelf, and an international hunger relief organization (often Heifer International, with the ambitious goal of donating an “ark” of farm animals to communities in need), hastingsfamilyservice.org. The impact is two-fold: it raises significant money – recent events aimed for over $5,000 in donations, instagram.com – and it raises awareness among attendees about hunger issues.
What’s truly special is the sense of empowerment and empathy this builds in our youth. As HHS art teacher Bert Casperson has emphasized, students learn that through art they can make a difference. They see tangible results: a full cafeteria of neighbors eating from bowls they crafted, and dollars pouring in to help the less fortunate. One can imagine their pride when the announcement is made that they hit the fundraising goal, knowing their muddy hands contributed to that success. Empty Bowls in Hastings has become a beloved community tradition – not just an art event, but a community service event. City officials, school leaders, and families all turn out, blurring the line between “artist” and “audience” because in effect, everyone who comes and donates becomes part of the creative act and its purpose. This project has also gained recognition; it’s often highlighted in school newsletters and local media as a point of pride that Hastings’ youth are leading a creative fight against hunger, hastingsnow.com.
Aside from Empty Bowls, Hastings High School engages students in other community-oriented art. They’ve produced public art installations (murals, sculptures) and sometimes ceramics find their way into those, like tile mosaics for school beautification. These projects encourage teamwork and give students a legacy – something they can point to in town and say “I helped make that.” This civic engagement through art fosters a stronger bond between youth and their hometown.
On the community side beyond youth, pottery is increasingly used as a tool for social connection and wellness in Hastings. One notable program at Squeaky Wheel Pottery is their outreach to senior citizens and special groups. For instance, the studio has hosted evenings for groups like the Hastings Prescott Arts Council members, giving them a chance to socialize while trying pottery. There’s talk of organizing sessions specifically for seniors from the Hastings Senior Center as a fun, therapeutic activity – wheel-throwing can be surprisingly gentle physical therapy for hands, and it’s mentally stimulating. The idea that “most things in life are more fun with a few friends” is built into the studio’s ethos, squeakywheelpottery.com. Private group events often cater to community organizations: we’ve seen Girl Scout troops earning pottery badges in the studio, church groups doing a creative fellowship night, and even local companies using a pottery workshop as a team-building exercise (far more creative than trust falls!). These engagements bring new folks into the art fold, many of whom never imagined themselves making pottery. They often leave with not just a self-made bowl, but also with new friendships or deeper camaraderie with their group.
Hastings also ensures that financial barriers are minimized so community members of all income levels can participate. For example, the Empty Bowls event’s $10 donation is a suggestion; people can give more or less, ensuring everyone can take part (some local businesses even sponsor tables or match donations, to boost the cause and inclusivity). For classes, while fees are needed, there have been instances of quiet scholarship – a generous resident might sponsor a kid’s summer clay camp, or the studio might offer a discount to someone who expressed keen interest but lack of funds. This informal support network reflects Hastings’ close-knit nature – people look out for each other. In the future, establishing a more formal scholarship fund for pottery classes (perhaps through HPAAC or a community foundation) could further solidify equal access.
One cannot overlook the joy and well-being that community engagement in ceramics brings. Many participants describe pottery as therapeutic – the focus required to shape clay can be meditative, a great stress relief. In a world of screens and digital overload, coming together in a pottery studio provides a refreshing analog escape. During the pandemic, when isolation was high, pottery classes (when they could be held safely) became an important social outlet. Hastings residents have shared that these classes helped them cope by giving them something positive and creative to look forward to each week. Now, as normalcy returns, that effect continues – the studio is a little community center in itself, where folks check in on each other’s lives while centering clay on the wheel.
Lastly, community engagement is evident in how the city itself supports the arts. The Hastings City Arts Task Force and HPAAC often promote events like Empty Bowls or Squeaky Wheel’s open houses on their platforms, acknowledging that these creative endeavors strengthen community bonds. The City Council has shown up to ribbon cuttings (like Squeaky Wheel’s grand opening) and expressed support for integrating art in city planning. This welcoming attitude from leadership further encourages residents to get involved – there’s a sense that “arts are welcome here”, which is not the case in every small town.
In conclusion, Hastings excels in using ceramics as a bridge between ages, groups, and causes. Youth are learning leadership and empathy through clay. Community members are finding connection, healing, and fun in shared pottery activities. The entire town gets to enjoy and partake in the fruits of these creative labors, whether by slurping soup from a student-made bowl or marveling at a potter shaping clay in the park. The effect of this engagement is cumulative: it builds a community that is more cohesive, compassionate, and creative. The more we involve our youth and neighbors in ceramics, the more we ensure a vibrant future for the art form here – because engaged people become supporters and champions for the arts in the long run. Hastings is crafting not just pottery, but community spirit, one bowl at a time.
Environmental & Social Sustainability
In the midst of celebrating creativity and community, it’s also important to consider how the ceramics industry in Hastings addresses sustainability – both environmental and social. Pottery, by its nature, is an art form deeply connected to the earth (literally, since clay is earth!) and it produces objects meant to last. This gives us a head start on sustainability, but conscious efforts are still needed to minimize environmental impact and maximize positive social outcomes. Fortunately, our local pottery community is mindful of these aspects, blending green practices with social responsibility.
Environmental Sustainability in Ceramics:
Ceramics production involves natural resources (clay, water) and energy (for kilns), so thoughtful use of these is key. Hastings’ potters, like many modern artisans, strive to reduce waste and conserve resources in their process. One common practice at Squeaky Wheel Pottery and in the high school art room is clay recycling. Trimmings and clay scraps from wheel-throwing – which inevitably pile up as you trim pots or wedge clay – are not thrown away. Instead, they go into a big bucket (often called a slop bucket). With water and time, these scraps slake down into a slurry, which can then be dried out to the right consistency and re-used as workable clay. This practice ensures that very little clay is wasted; essentially, the studios aim for a closed-loop system where yesterday’s remnants become tomorrow’s starting material. Not only is this eco-friendly, it also teaches students and beginners about resourcefulness (and saves money on buying new clay).
Another aspect is glaze and chemical management. Ceramic glazes contain various minerals and metal oxides. In Hastings, instructors emphasize not washing glaze remnants down the drain recklessly. Glazing areas have clean-up protocols to capture excess glaze and either store it for later use or dispose of it properly. This prevents potentially harmful substances from entering the water system. Many of the glazes used at community studios nowadays are also lead-free and food-safe, aligning with environmental health standards. The shift to non-toxic glazes is something the high school and Squeaky Wheel have implemented, to ensure safety for creators and end-users.
Kilns are one of the biggest environmental considerations – they consume significant electricity or gas and produce heat and sometimes emissions (especially fuel-fired kilns). Squeaky Wheel Pottery uses electric kilns, which in Minnesota means the carbon footprint is tied to the state’s energy mix (which, notably, is getting greener each year as more renewables come on the grid). These kilns are fired usually at night (to take advantage of off-peak power, which indirectly eases grid load). One environmentally friendly strategy is to always fire kilns at full capacity – never running a half-empty kiln. By carefully loading as many pieces as possible each firing, the studio maximizes the output for the energy input. Additionally, modern kilns are well-insulated, so heat loss is minimized. When possible, pieces are fired at the lowest effective temperature for the clay/glaze type (for instance, low-fire clay for decorative pieces, which uses less energy than high-fire stoneware). While small studios can’t afford fancy scrubbers or solar arrays yet, as technology progresses there might be opportunities to invest in renewable energy offsets – e.g., installing a few solar panels to offset kiln electricity or using MN’s community solar garden programs to ensure the studio’s power is green.
On the materials side, Hastings potters often source clay and glazes regionally (some from Minnesota or neighboring states suppliers), reducing transport emissions versus importing heavy clay from far-flung places. Interestingly, there’s also an eye on local materials: experiments have been done with local clay deposits (Hastings sits at a confluence of rivers; historically there are clay seams along riverbanks). While not yet a mainstream source, in the future artists might refine some local clay for use, which would be the ultimate in local sourcing and connect environmental geology with art.
Durability and Waste Reduction: One could argue every mug or bowl made by a Hastings artist and sold to a customer potentially replaces a factory-made item, often shipped from overseas, and likely less cherished. Handmade ceramics tend to be treasured and kept, not tossed out. They literally create long-lasting, reusable goods. A sturdy stoneware dish can last generations if cared for. In a world trying to break away from single-use plastics and disposables, promoting the use of ceramic items is a sustainable choice. For example, using a handmade ceramic coffee mug instead of paper or Styrofoam cups is a small but meaningful eco-friendly action. Hastings’ promotion of these items contributes to a culture of reusability. Some local cafes have even started selling branded ceramic travel mugs made by a local potter, encouraging customers to refill rather than use paper cups. This synergy between local pottery and waste reduction messaging amplifies the impact.
Social Sustainability:
On the social side, much of what we covered in Youth & Community Engagement already touches on social sustainability – building a society that is inclusive, engaged, and continuously learning. Ceramics in Hastings contribute by providing inclusive access to the arts. People of different ages, abilities, and backgrounds come together in classes, which fosters understanding and social cohesion. In a typical class, you might have a teenager, a young adult, a middle-aged parent, and a retired senior all chatting while shaping clay – an intergenerational mix that isn’t common in many other settings. This strengthens community ties and breaks down social silos, which is crucial for a sustainable community fabric.
Moreover, pottery offers personal therapeutic benefits that feed into social well-being. Many find that working with clay reduces stress and anxiety – it’s often called “muditation” (mud + meditation). Happier, less stressed individuals are better equipped to contribute positively to society. There have been instances where Hastings residents coping with difficult times (grief, recovery, etc.) have taken up pottery and found a supportive community and a healing outlet. Such outcomes, though intangible, contribute to the overall health (mental health especially) of our community. Some social service organizations in other cities use art therapy formally; while we don’t have a formal program in Hastings, the seeds of that benefit are present informally in our studios.
From a social equity perspective, Hastings’ pottery scene is mindful to be welcoming. The cost of entry to try pottery is kept relatively low (especially via community events or short workshops). And initiatives like Empty Bowls embed social causes into the core of the ceramics program, raising consciousness about issues like hunger. This blending of art and activism shapes socially conscious citizens – students learn about world hunger and local needs alongside learning to center a lump of clay. It sets a precedent that our creative endeavors should also make the world a better place. That ethos is likely to carry forward as these young people become adults, influencing Hastings to remain a compassionate, proactive community.
Another aspect of social sustainability is preserving cultural heritage and passing on knowledge. Pottery is one of the oldest human crafts, and by teaching it to younger generations, we ensure this heritage lives on. In Hastings, older potters (some who have decades of experience) share their knowledge with newbies, preserving techniques and stories. For example, an older instructor might teach a class how to do a traditional coil-built vessel or a specific glaze recipe that’s been handed down. This mentorship and knowledge transfer is part of cultural sustainability, keeping the chain of craft unbroken. Additionally, by possibly integrating any local Indigenous pottery history in the curriculum (with respect and collaboration), we could honor and sustain the broader cultural narrative of ceramics on this land. This is an opportunity: the Dakota people who once lived in this area certainly made use of clay; acknowledging that in classes or events adds depth and awareness.
Green Initiatives and Future Goals:
While current efforts are commendable, Hastings’ ceramics community continues to look for ways to be even more sustainable. Ideas on the table include starting a rain barrel system to reuse water for clay recycling and studio cleaning (reducing water waste), and exploring non-electric firing methods on occasion – for example, a pit firing on a farm outside town using scrap wood or corn husks, which could become a community event highlighting primitive firing techniques that are low-tech and connect with nature (albeit with careful attention to safety and emissions). Also, discussions have happened about how to responsibly dispose of glaze rinse water by using a settling tank to collect heavy particles then properly throwing them out, ensuring minimal chemical load in wastewater.
On social sustainability, one goal is to ensure diversity and inclusion. This means continuing outreach so that people from all walks of life (including those with disabilities, different ethnic backgrounds, etc.) feel pottery is for them too. Perhaps organizing a “Accessibility in Art” day – inviting individuals with special needs to try adapted pottery techniques – or partnering with cultural organizations for a cultural pottery workshop series (imagine a workshop on Mexican pottery styles for Cinco de Mayo, or indigenous pottery techniques taught by a Native artist) would broaden participation and show respect for diverse traditions. These efforts keep our community inclusive and culturally rich, hallmarks of social sustainability.
In sum, Hastings’ ceramics industry, while modest in scale, is minded to be a good steward of the environment and a positive social force. By reducing waste, creating durable goods, and educating responsible artists, it minimizes its ecological footprint. And by uniting people, promoting wellbeing, and giving back through charity, it maximizes social benefit. The clay we mold not only takes shape as bowls and mugs, but also as a better, stronger community and a thoughtful relationship with our natural world. Every firing day, every community bowl made, is a step towards a sustainable legacy where art, people, and planet are in harmony.
Digital Marketing & Storytelling Strategies
In the digital age, even a hands-on, earthy craft like pottery benefits enormously from a strong online presence and compelling storytelling. For Hastings’ ceramics industry to grow and reach wider audiences, we need to embrace digital marketing and narrative-building as enthusiastically as we embrace the clay. The good news is that our local pottery community is inherently rich in stories – from the personal journey of a studio founder to the transformation of mud into art – and these stories can captivate people far beyond Hastings if we share them effectively online. Here are strategies we’re employing (and can further develop) in digital marketing and storytelling:
1. Show, Don’t Just Tell – Visual Content is King: Pottery is a very visual art, and that works to our advantage in the social media era dominated by Instagram, Facebook, and YouTube. A short time-lapse video of a pot being thrown on the wheel or a before-and-after of a glaze firing can be mesmerizing content. Squeaky Wheel Pottery already has an active Instagram account, posting snapshots of wet clay pots and finished products, class scenes, and student successes, facebook.com. We should double down on this by creating more video content: quick behind-the-scenes clips, tutorial snippets (e.g., “How to center clay in 30 seconds”), or satisfying montages of trimming a bowl. Platforms like TikTok are ideal for creative process videos – imagine a “Pottery Trick Tuesday” series where each week a local potter shows a trick or technique in a snappy clip. These not only engage existing followers but have high shareability, potentially going viral among pottery enthusiasts. Also, leveraging high-quality photos – the gloss of a glaze under good lighting or a student proudly holding up their first finished mug – can evoke emotion and encourage sharing. Visual storytelling draws people in and piques their interest to learn more or even try it themselves.
2. Personal Stories and Profiles: People connect with people, not just products. We have a cast of wonderful characters in Hastings’ ceramics scene – let’s tell their stories. For example, a “Meet the Potter” Monday post could highlight someone like Babett (the studio owner) sharing why she loves pottery and a quirky anecdote about a kiln mishap that turned into a learning moment. Or feature a high school student describing what making bowls for Empty Bowls means to them (“I’m Jane, a junior at HHS. I’ve made 20 bowls so far and each one makes me feel like I’m helping someone eat a meal.”). These narratives put a human face on our industry and foster a personal connection with the audience. Blog posts or Facebook notes can be used for longer form storytelling, while shorter quotables and images can go on social media. Perhaps compile a few such stories into a short documentary-style video for YouTube – “Clay Community: The Potters of Hastings” – which could be both marketing and an artifact for our city’s history. This content not only markets our ceramics offerings but also conveys authenticity and values, which strengthen our brand.
3. SEO and Content Marketing: As mentioned earlier, ensuring that when people search online for pottery-related things in our region, Hastings comes up, is crucial. We should maintain an informative and SEO-optimized website or section (like on HastingsNow or a dedicated site for local arts). Key tactics include writing blog articles that answer questions people might search. For instance: “Top 5 Places to Experience Pottery in Minnesota” – of course highlighting Hastings among others, or “How Pottery Classes in Hastings, MN Are Building Community”. Using relevant keywords in titles and throughout the text (e.g., Hastings pottery classes, handmade ceramics Hastings, pottery near Twin Cities, etc.) will improve our search rankings, hastingsnow.com. Additionally, leveraging Google My Business for Squeaky Wheel Pottery (ensuring updated info, encouraging happy customers to leave reviews) will boost local search visibility. Another idea is to create an online resource hub about pottery – maybe a glossary of terms, or tips for beginners – hosted on our site. This can attract pottery-curious web traffic that might convert into class sign-ups or at least awareness of Hastings as an authority in this craft.
4. Email Newsletters & Social Media Engagement: Squeaky Wheel already gathers emails for a monthly newsletter, squeakywheelpottery.com, squeakywheelpottery.com, . Ensuring that those newsletters are engaging (with pretty images of latest works, class schedules, maybe a student spotlight) keeps our local base in the loop and excited. We can gently encourage sharing of those newsletters (“forward to a friend who might be interested”). On social media, engagement is a two-way street: responding to comments, re-sharing user-generated content (like if a student posts their creation and tags us, share it with permission – this makes them feel seen and others see real people doing pottery). Starting interactive content like polls (“Which mug glaze do you prefer – A or B? Vote now!”) or challenges (“share a picture of the first pot you ever made”) can keep followers involved. Perhaps host a giveaway contest online – e.g., “Win a free pottery class: post a photo of your favorite Hastings pottery piece or memory and tag us.” This not only markets but generates buzz and new followers.
5. Storytelling through Blogging and Press Releases: Hastings can leverage local bloggers or even major media by pitching stories. We might write a press release or feature pitch to regional news: “From Germany to Hastings: Potter finds community in clay” – a human interest story about Babett’s journey, squeakywheelpottery.com, or “Hastings Students Use Art to Fight Hunger” about Empty Bowls. These could be picked up by newspapers or local TV (the visuals of teens making bowls for charity is news gold). Each media exposure amplifies our story to audiences that might not find us otherwise. On our own channels, maintaining a blog that narrates interesting events (like a recap of how the pottery demonstration at Rivertown Days went, with photos) keeps content fresh and shareable. HastingsNow and the Chamber’s website also act as digital storytelling outlets – as seen by their highlights and reports, hastingsnow.com. Continuously feeding them new content (like an economic impact snippet or a success story of a student who became a potter) ensures Hastings’ ceramics feature in their narratives, which gets distributed across their platforms.
6. Cross-Promotion with Influencers and Partners: We can extend our reach by tapping into others’ audiences. For instance, collaborating with travel bloggers or Instagram influencers who focus on Minnesota travel or crafting. Invite one for a free class in exchange for them posting about their experience. A blogger describing a delightful afternoon in Hastings making pottery and then enjoying a meal by the river can entice their followers to consider the same outing. Also, partner with Twin Cities-based art communities: maybe do an Instagram live session together with Northern Clay Center or a popular potter from the city, talking about pottery, bridging our audiences. Using hashtags like #MNArtists, #HandmadeMN, #OnlyinMN (the state tourism hashtag) will also slot our content into streams where interested folks browse.
7. Emphasize Unique Story Angles: In all digital storytelling, highlight what makes Hastings ceramics unique. For instance, the historic downtown setting – a story post could be “Throwing pots in a 19th-century river town – the charm of Hastings’ pottery studio”. Or highlight our community focus – “In Hastings, pottery isn’t just about pots, it’s about people – here’s how a whole town gets involved.” Using a bit of humor and local flavor also engages readers – maybe a light-hearted blog “Confessions of a Hastings Potter: 5 times I completely messed up (and why it was okay)” – showing humility and learning, which readers appreciate. Embedding these stories with relevant citations or facts (like linking to an article about the Artspace Lofts to show the city’s investment in arts, aia-mn.org) can add credibility (and for our purposes, keep that sweet citation integration). The goal is to make our digital content not feel like ads, but like authentic slices of life in Hastings, which concurrently serve to pique interest in our ceramics offerings.
8. Tracking and Adapting: Use analytics on websites and social media insights to see what content resonates most. If a video of glazing pots got thousands of views, do more of that. If a long blog about kiln technologies didn’t get much traction, maybe our audience prefers human stories over technical deep-dives (save those for a niche audience or separate section). Also consider targeted boosts – a small budget for Facebook ads targeted to Twin Cities residents interested in “art classes” or “handmade pottery” could greatly extend our reach to likely customers.
By implementing these digital marketing and storytelling strategies, Hastings can effectively tell its ceramics story to the world. We have a blend of old-world craft and new-world community spirit – an appealing narrative that just needs the right channels to shine through. Done right, someone sitting in Minneapolis or Des Moines could stumble on an engaging post about Hastings pottery and think, “Wow, I’d love to visit this place or try that class.” The digital realm has the power to transform our local story into a global one, attracting visitors, new residents, and enthusiasts, all while deepening local pride. In a sense, we’re taking the storytelling tradition of artisans (who would spin tales while spinning clay) and updating it for the 21st century – spinning our tale on the world wide web, one post at a time.
Strategic Recommendations (Segment by Stakeholder)
Drawing together the insights from this comprehensive report, we propose targeted strategic recommendations to ensure Hastings’ ceramics industry continues to flourish. These recommendations are segmented by key stakeholders – recognizing that it will take a collaborative effort from all parts of the community to fully realize our pottery potential. By each group taking actionable steps, we can strengthen the ceramics sector economically, culturally, and socially for years to come.
For City Officials and Local Government:
Integrate Arts into Economic Development Plans: Recognize ceramics (and arts in general) as a deliberate part of Hastings’ economic identity. Continue to support projects like Artspace and consider allocating small business grants or low-interest loans to creative entrepreneurs (e.g., for a studio expansion or equipment purchase). By treating studios and galleries as key downtown businesses, the city helps sustain them.
Marketing and Tourism Support: Through the tourism bureau and city website, prominently feature Hastings’ pottery activities. For example, include a “Experience Hastings Arts” section with Squeaky Wheel Pottery listed as a top attraction, and mention events like Empty Bowls on city event calendars. Collaborate with Explore Minnesota to get Hastings ceramics events and venues included in state-wide promotions, hastingsnow.com.
Public Art and Infrastructure: Commission ceramic art for public spaces (tiles, murals, sculptural planters) made by local artists. This provides work for potters and visually reinforces the presence of ceramics in daily life. Also, ensure any new community facilities (like a planned community center) have space or provisions for arts workshops and kilns – forward-thinking infrastructure that could allow a public ceramics studio in the future.
Educational Partnerships: Work with schools and HPAAC to possibly secure funding for expanding youth ceramics (like a grant for more wheels at the high school or for a summer youth ceramics apprenticeship program). By investing in youth art education, the city invests in future local talent and a pipeline of creative industry workers.
For Local Ceramic Businesses and Artists (Pottery Studio Owners, Artists):
Expand Collaborative Offerings: Studio owners like Squeaky Wheel could partner with local businesses to create joint offerings (e.g., “Throw & Dine” with a restaurant, where participants make a dish then enjoy a meal served on pottery). This cross-promotion can attract new clientele. Additionally, consider offering mobile pottery experiences – taking a portable wheel to corporate offices, senior centers, or farmers markets for pop-up classes, thus expanding reach.
Advanced Training & Networking: Encourage local artists to continue honing their craft and bringing back knowledge. For example, attend workshops at Northern Clay Center or national ceramics conferences and then share those skills locally via new classes or community talks. Form an informal Hastings Potters Guild that meets to exchange tips, bulk order materials (saving costs), and perhaps organize an annual pottery sale or exhibition together.
E-Commerce and Product Development: Develop a cohesive line of “Hastings Ceramics” merchandise that can be sold online year-round (think souvenir mugs with a tasteful Hastings logo, or an annual limited-edition ornament series). Use online platforms aggressively to supplement in-person sales, as this can provide income during slower tourist seasons. Packaging the story of Hastings with each product (a tag explaining our town’s pottery story) adds value and connection for customers.
Community Engagement Leadership: Continue being champions of community projects. If Empty Bowls is hitting capacity, perhaps artists can start a spring throw-a-thon to make even more bowls or involve neighboring towns’ art students (scaling the impact). Artists might also identify and mentor talented youth who could become studio assistants or even future pottery business owners, ensuring continuity.
For Hastings Schools and Educators:
Curriculum and Club Enhancement: Keep ceramics an integral part of the art curriculum at all levels. Perhaps introduce a “Ceramics and Society” unit where students not only make pottery but also learn about historical and cultural aspects (like how pottery impacted trade, or how it’s used in different cultures). This enriches their understanding and appreciation. Support the creation of after-school ceramics clubs in middle school to catch interest earlier.
Inter-school Collaboration: Coordinate between the high school and elementary schools – e.g., high school art students could visit elementary classrooms to do a clay project (giving younger kids exposure and older kids teaching experience). This near-peer engagement can be powerful and sustain interest as kids progress through grades.
Recognition and Pathways: Work with counselors to highlight ceramics as a viable career/education path for interested students (point them to art schools, scholarships, apprenticeships). Celebrate student achievements in pottery by showcasing their work in school lobbies or local libraries. Recognition (awards, press mentions) can motivate students and validate the program – for instance, if an Empty Bowls leader student gets a city youth award, that’s a win for the arts.
Facility Sharing: If feasible, offer the school’s kiln use to community groups during summer or off-times, or let a local potter run a community ed class using school art rooms. This maximizes resources and knits the school and broader community together through shared use of facilities.
For Hastings Area Chamber of Commerce, Tourism Bureau, and Business Community:
Promotional Initiatives: Include pottery experiences in any “shop local” campaigns and holiday promotions. For example, a holiday passport program could have a stamp for “took a pottery class or bought a handmade gift”. Promote ceramics in itineraries for travel writers or tour operators that the Chamber entertains – ensure they visit the studio or meet local artists.
Merchandising Partnerships: Encourage local retailers to stock Hastings-made ceramics. A coffee shop selling local mugs, a garden store carrying local planters – these not only support artists but also give visitors more opportunities to purchase a piece of Hastings. Consider a Chamber-run pop-up shop during peak tourist season featuring all local artisans (including potters).
Events and Festivals: Integrate ceramics into more community events. For instance, during the Chamber’s Rivertown Days, beyond demos, perhaps host a quick “paint-a-pot” booth for kids (fire later and distribute) or a “pottery challenge” contest for fun. Possibly create a new event: Hastings Arts & Heritage Day where pottery plays a starring role alongside music and food, drawing art enthusiasts from the region.
Feedback and Data: Work with local ceramic businesses to track metrics that could help with marketing, like what percentage of class attendees are tourists vs locals, or how many visitors inquire about pottery. Use that data to adjust strategies – if many tourists show interest in classes but can’t attend a multi-week session, maybe shorter drop-in classes could be offered and promoted through hotels or B&Bs.
For Community Members and Patrons:
Participate and Advocate: The simplest recommendation is for residents to engage – take a class, attend Empty Bowls, bring visiting friends to the pottery studio. Community patronage is the bedrock of sustainability for our ceramics industry. If you love the mug you bought, share a picture on social media or leave a positive review. Word-of-mouth (both in person and digital) is powerful in a small community.
Volunteer and Support: Offer time or resources if you have them. For example, a community member with a pickup truck could volunteer to help transport items for an art fair, or someone with tech skills might help a potter set up an online store. If financially able, locals can sponsor a scholarship for a student class or donate extra to Empty Bowls. These gestures strengthen the ecosystem.
Continue the Conversation: Stay informed and involved via the newsletter, local news, or by simply chatting with artists at events. Provide feedback – if there’s a class you wish existed, mention it; if a certain product would interest you, let them know. Community needs and ideas can spark new offerings. Essentially, treat the ceramics community as your community – which it is – and nurture it with your input and enthusiasm.
For Regional Partners (Neighboring Arts Organizations, Tourism Bodies):
Collaborative Promotion: Include Hastings in regional art tours and publications. The St. Croix Valley Pottery Tour could list Hastings as a “related destination” for pottery year-round. The Dakota County or Metro tourism bodies should have Hastings’ art attractions in their materials. Regional arts councils can help fund cross-community projects (e.g., a joint exhibition with Red Wing or Stillwater artists to build bridges).
Resource Sharing: Open dialogues with Northern Clay Center, Red Wing Pottery Museum, etc., for resource and knowledge sharing. If NCC is hosting a renowned ceramic artist, perhaps they could do a talk or demo in Hastings as part of their trip, leveraging their presence. Conversely, if Hastings hosts something unique, invite regional arts communities to join.
Joint Grants and Projects: Pursue grants as a multi-town group for things like an “Upper Mississippi Ceramics Trail” concept or educational programming that involves multiple communities. Being part of a regional initiative can bring more funding and attention than isolated efforts.
By following these tailored recommendations, each stakeholder group can contribute to a thriving, resilient ceramics industry in Hastings. The underlying theme is partnership – when city hall, businesses, schools, artists, and residents all play their part, the result will be a synergistic growth that’s greater than what any one sector could achieve alone. Hastings has the talent, passion, and community spirit; these strategies will help channel those assets into concrete actions that preserve and expand our creative endeavors. With everyone at the wheel (pun intended), we can shape our future just as surely as we shape clay on the wheel – with vision, patience, and a collaborative touch.
Comparisons to Regional Destinations
To truly gauge the strengths and opportunities of Hastings’ ceramics industry, it’s helpful to compare and contrast it with what’s happening in other regional destinations known for arts and pottery. Each of these communities offers lessons and points of inspiration. Below, we look at a few key comparables and how Hastings measures up or can carve its own niche:
Red Wing, Minnesota: “The Heritage Powerhouse” – Red Wing is a town practically synonymous with pottery, thanks to its historic stoneware companies and the popular Pottery Museum of Red Wing. At its peak, Red Wing produced vast quantities of stoneware crocks, jugs, and dinnerware, and today it leverages that history as a tourism driver, visitminnesota.net. Visitors flock to see thousands of vintage pieces and buy new ones from the revived Red Wing Stoneware Company. In comparison, Hastings is the new kid on the block; we don’t have that industrial heritage. But we also have advantages: Red Wing’s pottery scene is largely about preservation and retail – showcasing old pieces and selling traditional designs. Hastings’ scene is about interactive creation and contemporary community art. For a tourist, Red Wing offers a look into the past, whereas Hastings offers a hands-on present. Both are valuable, but different. Hastings might never compete with Red Wing’s scale of production or collection, but we can distinguish ourselves by focusing on the experiential (classes, workshops) and by cultivating modern, artistic styles. Interestingly, Red Wing’s pottery revival employs about 18 people and sticks to classic methods and styles, visitminnesota.net, whereas Hastings’ single studio employs a handful but experiments with myriad styles by various artists. In a way, Hastings can be more artistically diverse. A strategy is to partner rather than compete: encourage people visiting Red Wing (just a 40-minute drive away) to swing by Hastings for a complementary experience – after seeing the Pottery Museum, come make your own pot in Hastings. Combined itineraries like “Northern Dakota County/Southern Minnesota pottery trail” could benefit both towns.
Stillwater, Minnesota: “Boutique Tourism & Art Fairs” – Stillwater isn’t known for pottery specifically, but it is a major arts and antiques hub with a picturesque setting. It hosts regular art fairs and has multiple galleries where ceramics are among the items sold. The comparison here is about tourism draw and atmosphere. Stillwater has done an excellent job of branding itself as a day-trip destination for art, shopping, and dining (with things like their annual Rivertown Art Festival). Hastings shares a scenic river location and historic downtown vibe, but has been less on the radar for arts. One difference: Stillwater has more upscale galleries (which might carry $200 artisan bowls or fine art ceramics) catering to a perhaps more affluent tourist crowd at times, whereas Hastings’ offerings are a bit more approachable and casual (plenty of nice pieces, but also $20 mugs and community events). That’s not a negative; in fact, it positions Hastings as more accessible to the average family or aspiring hobbyist. We can learn from Stillwater by continuing to beautify and promote our downtown and by maybe hosting more art events to create that “there’s always something happening” reputation. But we should also embrace the difference: Hastings offers a participatory art experience versus Stillwater’s spectator/buyer experience. For a true art lover, doing both is ideal – buy a fine ceramic piece in Stillwater, then come down to Hastings to make something yourself. We might collaborate with Stillwater on marketing – perhaps a joint “River Valley Art Loop” map that includes both towns’ art venues.
Northfield, Minnesota: “Education and Art Community” – Northfield’s pottery scene thrives through educational institutions (two colleges) and the Northfield Arts Guild (a community arts center with a clay studio). The Arts Guild in Northfield functions somewhat like a community studio: members pay to use facilities, take classes, etc. Hastings doesn’t have a formal arts center yet, but Artspace and our grassroots efforts fill part of that role. Northfield also has events like the Cannon River Clay Tour (in nearby areas) where local potters open studios. Hastings currently has just the one public studio (plus home studios not generally open). A future vision inspired by Northfield might be to develop a Hastings Art Center or cooperative studio, adding another layer to our industry (especially as demand grows). In terms of market, Northfield’s pottery activity is quite local – tied to residents and students. Hastings, being closer to the Twin Cities, might actually pull more external visitors. The comparably sized city indicates that a town our size can support a vibrant ceramics program (Northfield’s Guild has dozens of pottery students regularly). Hastings has matched that by channeling similar numbers through private classes. One takeaway is how Northfield integrates art into town festivals (their Defeat of Jesse James Days even has craft components). Hastings can continue to ensure arts (and specifically pottery) have visibility in all our community traditions.
Minneapolis/St. Paul Metro: “Urban Hubs” – While not a single destination, the Twin Cities’ ceramics scene (with Northern Clay Center, community ed programs, galleries like Clay Squared, etc.) is the big gorilla. It’s not so much a competitor as an ecosystem we are adjacent to. One could compare Northern Clay Center’s reach – hundreds of students each quarter, exhibits attracting collectors – to our modest scale. Hastings won’t rival that, but we can serve as a satellite – offering an alternative, and even collaborating. City folks sometimes prefer a getaway to a small town to do something creative; that’s our opportunity. Also, the cities host big art events (St. Paul Art Crawl, Minneapolis Institute of Art’s crafts showcases). Hastings artists should continue to participate in those, which many do, to represent our town. Our proximity is a strength: we can draw on instructors from the metro for special workshops, and likewise send our folks there for learning. We can also benefit from overflow; NCC often has waitlists for classes – Hastings can capture those who can’t find spots there, by advertising our classes as “just a short drive away, easy parking, intimate classes”. That’s a definite competitive angle: the convenience and charm of a small town studio versus a more institutional city setting.
Western Wisconsin & St. Croix Valley: “Rural Pottery Tours” – The St. Croix Valley Pottery Tour (centered around Shafer, MN and some WI studios) is nationally renowned, attracting pottery aficionados every Mother’s Day weekend, minsooyuhceramics.com. It showcases about 50 top potters in a self-guided tour of rural studios. While Hastings is not part of that specific geographic cluster, we are at the confluence of the St. Croix and Mississippi – the gateway, in a sense. Comparatively, the Tour is about professional studio potters selling high-end work; Hastings is about community engagement and mid-range work. However, those tour-goers are exactly the demographic that might also appreciate Hastings. There’s potential to position Hastings as an additional stop for those doing pottery pilgrimages. Perhaps the local tourism could set up a booth or sign at one of the tour stops welcoming people to Hastings for “more art just down the road”. Or even schedule a special open studio or demo on the weekend of the Tour to siphon some crowd (some might choose to come through Hastings on their way home). That region also emphasizes the beauty of the countryside experience – something Hastings can’t offer in the same way since we’re more town-centered, but we have riverfront beauty and historic beauty to market instead.
Summary of Comparisons: Each regional destination highlights something Hastings can leverage:
We won’t out-compete Red Wing on history, but we compete well on hands-on modern engagement.
We might not have as many galleries as Stillwater, but we offer participatory art and a family-friendly, unpretentious vibe.
We lack a formal arts center like Northfield, but we have a private-public hybrid approach that could evolve, and we share Northfield’s strong community involvement.
We can’t match the scale of the Twin Cities, but we offer intimacy and ease in a way the city can’t.
We aren’t part of the established pottery tour route yet, but we’re geographically positioned to tap into that audience with strategic effort.
In essence, Hastings holds its own as an emerging ceramics destination by focusing on experience, community, and authenticity. We should continue to benchmark against these other places: If Red Wing is investing in a new pottery museum wing, how are we improving our local exhibits or offerings? If Stillwater’s art fair draws thousands, can Hastings do a variant to draw hundreds? Learning from their successes and missteps allows us to refine our strategy.
Rather than viewing these comparisons as competition to “beat,” it’s more productive to see them as partners and inspiration in a regional network. A pottery enthusiast could visit all of these places on a pottery tour of the Upper Midwest, and each would offer something unique: Red Wing (history), Northfield (education/community art), St. Croix Valley (master craftsmanship in rural tranquility), Stillwater (artsy shopping atmosphere), Minneapolis (urban breadth and depth), and Hastings (interactive art-making and small-town charm). Hastings’ goal is to firmly establish itself on that list. By doing so, we secure a seat at the table (or wheel, as it were) in the regional arts economy, and ensure that our community reaps the cultural and economic benefits that come with being known as a center for ceramics.
Challenges and Solutions
No industry report would be complete without a frank look at the challenges faced by Hastings’ ceramics sector – and, importantly, practical solutions to address them. While the trajectory is largely positive, there are hurdles to overcome to sustain and grow the ceramics industry locally. Below we outline some key challenges and propose strategies to tackle each:
Challenge 1: Limited Capacity and Resources – As a small community with essentially one primary ceramics studio, Hastings faces capacity constraints. Class waitlists at Squeaky Wheel Pottery indicate demand may exceed what a single studio can handle. Additionally, running a pottery studio is resource-intensive – from purchasing kilns and maintaining equipment to having enough skilled instructors. There’s a risk of burnout or plateau if expansion doesn’t happen. Solution: Explore scalable growth options. This could mean encouraging an additional pottery venue (maybe a part-time studio operating out of a school or church space for community ed classes) to share the load. Also, pursue grants or fundraising for capital improvements – for example, a grant to get a larger kiln or more wheels. Partnering with the city or arts council for grant writing could unlock funds for expansion. Another solution is to implement a “studio membership” model (if not already) where experienced hobbyists can use the studio during off-hours for a fee – this generates revenue that can fund more staff or equipment while maximizing utilization of the space beyond scheduled classes, squeakywheelpottery.com. Importantly, bring in and train more instructors – perhaps incentivize advanced students to become assistant teachers, which grows the teaching staff pool without huge cost.
Challenge 2: Economic Viability and Consistency – Small art businesses can be vulnerable financially, especially with seasonal swings (fewer people might take classes in summer, etc.). Ensuring consistent income for the studio and artists is a challenge. Solution: Diversify income streams and stabilize cash flow. The studio should continue to mix retail sales (which might spike during holidays) with classes (steady enrollment through year) and special events. Implementing gift cards or pre-paid class packages can bring in revenue upfront. Also consider a subscription model for frequent participants – e.g., a monthly fee to attend one workshop and get a discount on products – this kind of model can yield reliable recurring income. For artists, forming a cooperative to do joint marketing or sales can reduce individual costs. On a community level, developing an annual signature event (like a pottery festival or sale) can inject a significant revenue boost that helps through leaner times. The Empty Bowls event, while for charity, also indirectly supports the program by raising its profile; similarly a big holiday pottery sale could boost artist incomes. Embracing online sales can smooth local lulls – an online customer base might buy consistently year-round different from local patterns.
Challenge 3: Competition and Retention of Customers – While we highlighted that regionally Hastings doesn’t have direct local competition, on a broader scale people have many choices for leisure and arts spending. A family might try a pottery class once and then move on to something else like painting or cooking classes next – so retaining repeat customers is a challenge. Also, talented local artists could be enticed to move or work elsewhere if opportunities seem bigger beyond Hastings. Solution: Focus on building community and loyalty. Make the experience so fulfilling that people want to stick with it long-term. This involves continually refreshing class offerings (so there’s always something new to try), offering progression (Beginner 1, Beginner 2, Intermediate, etc. to keep people advancing), and fostering a sense of belonging (studio clubs, social events for students). For instance, host a “alumni pottery showcase night” where past students display what they’ve made at home – this keeps them connected. Implement loyalty rewards (e.g., take 5 classes, get a free glaze kit or T-shirt). To retain artists in town, ensure they have support: visibility, sales avenues, maybe the city or chamber can help by commissioning work from them so they have local projects. Also, as mentioned in marketing, maintaining high engagement online with customers keeps them connected between classes or visits. Essentially, make Hastings not just a one-time tourist stop but a place people return to for pottery – our friendly relationships and personal touch are key here, something bigger city programs struggle to match.
Challenge 4: Keeping Up with Technological and Market Trends – The art and retail world is evolving with technology (e.g., 3D printing ceramics, or the rise of Etsy and algorithm-driven sales). Additionally, if not proactive, our industry could be slow to adapt to new trends in consumer preference (say, a surge in interest for a certain style or technique). Solution: Continuous learning and adaptation. Encourage local artists and studio owners to stay informed through webinars, trade magazines, and visiting other studios. Perhaps set up a small fund or use HPAAC to sponsor a couple of local artists to attend the annual NCECA (National Council on Education for the Ceramic Arts) conference – bringing back cutting-edge knowledge. If 3D ceramic printing becomes popular, consider getting a small one at the high school or library makerspace so community members can experiment at the intersection of tech and pottery. For market trends: keep an eye on what sells. If, for instance, there’s a nationwide craze for succulent planters, local artists can capitalize by designing unique planters (we saw some pictured evergreens, for example, aligning with seasonal décor). The agile advantage of being small is we can pivot quickly to cater to trends, unlike a large manufacturer.
Challenge 5: Public Awareness and Perception – Another challenge is ensuring that people (both within Hastings and outside) know about and value what we have. Some locals might still not be aware that they can take a pottery class right here, or some tourists may not realize Hastings has an art scene beyond historic sites. Solution: Ramp up marketing and advocacy, much of which is covered in the Digital Marketing section. Locally, integrate ceramics with public life so it becomes more visible: perhaps a “pottery of the month” display at City Hall or the library, or doing a demonstration at the Farmer’s Market occasionally. Also, leverage human interest stories for local media (like the local paper or TV profile on a multigenerational family all taking classes). We want pottery to be seen as part of Hastings’ identity (like, “oh yes, Hastings, they have that great pottery studio!”). Encouraging satisfied participants to spread the word (maybe an incentive like refer a friend and get a small gift) can tackle the awareness issue. In the eyes of broader audiences, continuing to piggyback on regional travel guides, and inviting bloggers and influencers to share their Hastings pottery experiences, will shift perceptions. Overcoming any notion that pottery is “intimidating” or “only for artists” is part of this – by showcasing ordinary folks enjoying it, we break that barrier.
Challenge 6: Ensuring Continuity and Succession – At present, a lot of the ceramics activity might depend on a few key individuals (the studio owner, a teacher, a champion teacher at the high school). What if they retire, move, or step back? Sustainability requires developing new leaders. Solution: Succession planning and mentoring. Within the studio, have a plan for others to take on more responsibility – perhaps an assistant manager position that can eventually lead. Document important operational knowledge (like how to maintain the kiln, key contacts for supplies, etc.). For the high school, fostering younger art teachers or strong continuity in the art department will keep the program robust if a long-time teacher retires. HPAAC and community leaders should keep arts a priority so that transitions in leadership (say, a new mayor or parks director) don’t deprioritize support for art initiatives. Essentially, institutionalize the support for ceramics so it’s not solely personality-driven. Forming a committee or working group for the Hastings ceramics industry (including city reps, business owners, artists, educators) can ensure multiple stakeholders are invested in keeping it going strong regardless of individual changes.
In facing these challenges head-on with creative solutions, Hastings can not only prevent potential setbacks but turn challenges into catalysts for improvement. The very nature of pottery teaches us resilience – not every pot comes out of the kiln perfect; sometimes you get a crack, but you learn, adjust your technique or clay recipe, and try again. Similarly, as issues arise in growing our ceramics industry, our community can respond with ingenuity and determination. The support network we’ve built – between the city, artists, schools, and citizens – acts as a kiln of its own, strengthening our resolve and capacity under heat. By being proactive, adaptable, and collaborative, Hastings will overcome these challenges and continue shaping a vibrant, enduring ceramics community.
Future Outlook
Looking ahead, the future of the ceramics industry in Hastings appears bright and full of potential. If the current momentum and support are maintained, we can expect to see a continued blossoming of creative activity and economic growth tied to pottery and the arts. Here are some elements of what the future might hold for Hastings’ ceramics scene:
1. A Growing Reputation: In five to ten years, it’s very plausible that Hastings will be firmly on the map as one of Minnesota’s go-to art towns – mentioned in the same breath as places like Red Wing or Stillwater when it comes to must-visit creative destinations. With sustained marketing, word-of-mouth, and the unique identity we’re forging (community-oriented, interactive, authentic), Hastings could attract not only day-trippers but even new residents – artists choosing to move here because of the supportive environment (much like Artspace intended, and which is already happening to some extent, aia-mn.org). This reputation will be bolstered by success stories – maybe a student who started at Hastings High goes on to win a ceramic art award, or a piece made in Hastings gets featured in a regional art exhibit.
2. Economic and Cultural Enrichment: As the ceramics industry grows, so will its contribution to Hastings’ economy and cultural life. We can foresee more jobs – perhaps the studio hires more staff, maybe someone opens a paint-your-own-pottery studio catering to a different audience (complementing Squeaky Wheel’s creation-from-scratch focus). The downtown might see an increase in foot traffic due to pottery events, benefiting restaurants and shops (as indicated in economic analysis, these synergies amplify impact, hastingsnow.com). Culturally, pottery could become one of those cherished things that locals brag about – “We have this great pottery community.” The integration of ceramics into public art and daily life might result in, say, a ceramic sculpture walk by the river or an annual “Hastings Clay Day” festival that becomes a beloved tradition drawing visitors region-wide.
3. Evolution of Facilities and Programs: With growth, we might see expansion of facilities. Perhaps Squeaky Wheel Pottery moves to a slightly larger venue or opens a second location (maybe a smaller outlet at the new Hudson manufacturing redevelopment area or in the planned riverfront improvements, hastingsmn.gov, if those come to fruition). The high school might add a second kiln or more wheels as enrollment in ceramics classes grows. We might also get a community kiln outdoors for raku firings or large-scale pieces. Program-wise, one can imagine even more diverse offerings: specialized masterclasses with visiting artists, corporate retreat pottery sessions, or therapy-oriented pottery classes in partnership with healthcare providers (given the well-known stress relief benefits of clay work).
4. Deeper Community Impact: The ceramics industry’s social impact will continue to deepen. Empty Bowls could, for example, double its fundraising (aim for $10k+ in future years) as it gains prominence and community buy-in, instagram.com. More youth who go through the pottery program might become community leaders or entrepreneurs, applying the creativity and confidence gained. One might start a business that makes ceramic jewelry, another might become an art teacher, etc. The ethos of creativity and caring nurtured by the ceramics community will spill over into other community initiatives – making Hastings a more vibrant, connected city overall. Also, pottery’s ethos of patience and collaboration – you can’t rush a kiln, and you often need teamwork in studios – could subtly influence community culture, fostering an environment where arts and slow, mindful activities are valued in a fast-paced world.
5. Challenges Met with Innovation: The challenges identified will likely be addressed, as per our solutions. For instance, if space becomes an issue, perhaps a public-private partnership creates a Hastings Creative Arts Center in an unused building, giving ceramics and other arts more elbow room. The industry will also likely embrace sustainable practices further – maybe moving toward a green studio model (solar panels powering kilns, reclaiming more materials), making Hastings a model for eco-friendly art practice. We might also see technology integrated: perhaps the library’s makerspace or a local maker group collaborates with potters on 3D-printed ceramics or laser-engraved clay art, blending tradition with innovation and attracting tech-savvy youth into the fold.
6. Regional Collaboration and Tourism Loops: In the future, Hastings could be a cornerstone of a Southern Minnesota Art Loop – visitors might start in Hastings, go to Red Wing, then down to Winona, etc., or vice versa. We might host regional pottery conferences or at least be a stop for groups like the Midwest Pottery Tour. The state arts board may feature Hastings as a case study of a small town revitalized by the arts (which would be wonderful positive publicity). This could attract external funding or grants as well, as more people notice the good things here.
7. Enduring Community Spirit: Importantly, as growth happens, the spirit of Hastings’ ceramics community – its friendliness, inclusivity, and community focus – is likely to endure and be the foundation for all this success. We have an advantage in that this industry grew organically with the community at its heart, not imposed by outside forces. So even as it scales, it’s rooted in local values. Ten years from now, you might still see the same warmth: a retired couple and a teenager laughing together at the wheel, a teacher giving a high-five to a student whose bowl finally stayed centered, families crowding into the high school commons for soup out of handmade bowls, city council members throwing pots at a special Council pottery retreat (why not!). These scenes will continue, amplified by more participants.
In conclusion, the future outlook for Hastings’ ceramics industry is one of expansion, innovation, and deepening impact, all built upon the strong foundation that’s been laid in the past few years. The interplay of economic development and community enrichment is set to create a positive feedback loop – a thriving ceramics scene draws visitors and revenue, which in turn allows further investment into arts and community, which then fosters more creativity and vibrancy. Hastings stands as an example of how a small city can leverage the arts not just as a side activity, but as a core strategy for growth and identity. The clay is spinning on the wheel of progress, and under the skilled hands of the Hastings community, it’s shaping up to be a beautiful future indeed.
Conclusion
In conclusion, Hastings, Minnesota has quietly and steadily crafted a thriving ceramics industry that is shaping the community’s identity, economy, and spirit. What began as a dream of a few (a passionate potter opening a studio, a teacher engaging students with clay) has grown into a full-fledged local movement – one that intertwines art with daily life in Hastings. Through this comprehensive report, we’ve journeyed through the historical evolution of pottery in our town, examined the current vibrant scene, and analyzed the economic and social ripples generated by muddy hands at the wheel. We celebrated successes like Squeaky Wheel Pottery’s rapid rise as a community hub and the heartwarming impact of the Empty Bowls initiative, while also tackling challenges and plotting strategic paths forward.
What makes Hastings’ ceramics industry truly special is its local flavor and authenticity. There’s a bit of humor and humility in our approach – we’re not afraid to laugh at a collapsed pot or embrace a creative “happy accident” (as any potter knows, they happen!). That down-to-earth, friendly atmosphere, combined with a shared pride in creating something with one’s own hands, gives our ceramics scene an inviting warmth. Whether you’re the mayor glazing a bowl at Empty Bowls, a biker from Minneapolis stopping by to spin clay on a weekend, or a Hastings third-grader marveling at your lopsided but loveable first pot, you become part of the Hastings pottery family. That sense of community is our lodestar.
From an economic development perspective, Hastings is proving that investing in local arts pays off. The ceramics industry, while small in absolute numbers, punches above its weight in contributing to downtown revitalization, tourism attraction, and even charitable fundraising. It exemplifies the idea that a creative economy is also a caring economy – one that nourishes both the bank book and the soul of the community. As we implemented recommendations for stakeholders, the common thread was collaboration. City officials, business leaders, artists, educators, and residents each have a role, and in Hastings we see what happens when those roles synergize: a once quiet art form becomes a lively community endeavor, drawing attention and visitors from beyond our city limits.
Hastings’ ceramics story is still in its early chapters, but the narrative arc is clearly one of growth, resilience, and joy. The potter’s wheel weaves momentum; each revolution adding new layers – more skilled artists, more engaged youth, new techniques, perhaps new studios or events in the future. We envision a Hastings where pottery is as synonymous with the town as our iconic bridge or historic register buildings – where someone might come for the scenery but leave with a hand-thrown mug and memories of laughter around the kiln. It’s a future where creativity and community continue to reinforce each other.
In wrapping up this report, let’s recall a simple image: a lump of Hastings clay on a wheel, guided by caring hands, being shaped into something useful and beautiful. In many ways, that lump of clay is Hastings itself – with our collective hands, we are shaping our town into a place that is ever more creative, connected, and uniquely “us.” The kiln is our shared experience – occasionally intense, but ultimately strengthening. And the finished pottery piece? That’s the Hastings we are building day by day, a community art piece that carries our heritage, fingerprints and all, into the future.
The Ceramics Industry in Hastings is more than an economic sector – it’s a story of a community coming together to create. It’s evidence that a small town can think big with arts and culture. As we place this report on the shelf (and perhaps enjoy a cup of coffee from a Hastings-made mug while doing so), we do so with optimism and confidence that the kiln-fires of creativity will continue to burn brightly in Hastings. In this friendly river town, the wheel keeps turning, and the next great creation is always just a spin away.
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