What Art-A-Whirl Artists Wish Attendees Knew

Photo by Darin Kamnetz

Northeast Minneapolis wasn’t always a mecca for art lovers. Then, in the late 1980s and early ’90s, gentrification in the city’s North Loop (then known as the warehouse district) forced many artists across the river, where rent and studio space were more affordable. In 1995, some of those artists decided to open their studios to the public in an event they dubbed Art-A-Whirl .

Fast forward a few decades. Art-A-Whirl has become the largest open-studio art tour in the country, featuring more than 1,200 artists and drawing more than 50,000 people to Northeast over three days each May. This year’s event is May 17-19.

Photo by Darin Kamnetz

Nicholas Harper, multi-disciplinary artist and owner of the Rogue Buddha art gallery , has been participating in Art-A-Whirl for 25 years. He has seen the event grow from a chance for urban art enthusiasts to check out new work to the sprawling, beery, music-packed extravaganza it is today. “It’s definitely become more festive, with more of a party atmosphere. And it’s not just local anymore—people come in from all over the Twin Cities metro,” Harper says.

While Art-A-Whirl has grown steadily since its inception, it seems to have hit hyperdrive in the past decade (putting aside a two-year, pandemic-induced lull). In years past, artists put out humble offerings of cheese, crackers, and wine for guests to enjoy as they perused their art. Now, attendees have their choice of wares from abundant food trucks, breweries, and pop-up food stands, which they can enjoy between live outdoor music sets, elaborate art demos, and distillery-sponsored block parties.

“It started as catering to people who were serious art buyers. Little by little, it became people who are there to drink and be part of the entertainment scene and have a good time but maybe aren’t investing deeply in art,” says Northrup King tenant Sarah Butala, who creates bags, wallets, and clothing under the name Strey Designs .

Photo by Darin Kamnetz

How do the artists and gallery owners feel about what Art-A-Whirl has become? More than one described it as a double-edged sword. “Overall, it’s good because it’s growing awareness of the arts,” Harper says. “It has more of a party atmosphere than I’d like, but I’ve tried to adjust and see it more as an exposure opportunity than something geared toward actual collectors.”

That’s not to say no art changes hands during the festival. “Every year, I make more and more money at Art-A-Whirl,” Butala says. She estimates artists make anywhere from $200 to $20,000 over the average Art-A-Whirl weekend. “I’m probably on the higher end of that,” she adds.

Unique to the festival are some home-turf advantages, too. Butala attributes her success to her studio’s prime location on the first floor of the Northrup King Building, as well as the overall growth of her inventory. Unlike other art fairs or shops, Art-A-Whirl lets her deliver an extra layer of customer service. “People come in and are like, ‘Can you make this strap shorter?’ And I can do it right that second because we’re standing in my studio. That’s a big value-add.”

Woodworker Justin Hossle , who has a studio and showroom in the California Building, likes that Art-A-Whirl is a free event—both for artists and attendees. “Other art fairs I do cost anywhere from $300 to $900 to be at, plus five hours of setup and teardown. With Art-A-Whirl, all I have to do is clean my studio.” Hossle also appreciates the chance to share more of his personal story with customers in the space where he creates.

Photo by Darin Kamnetz

The flip side is that artists are essentially hosting a house party for strangers. “Friday night can suddenly turn into a drunken street party, and you’ve got people coming through your space, and it’s like, ‘I don’t want you in here,’” he says.

Even when everyone is on their best behavior, three days of crowds can take a toll on artists used to working in solitude. “I have a positive view of Art-A-Whirl after it’s over, but I kind of dread it, working up to it,” says Jennifer Zoss , a Northrup King tenant who creates oil paintings and multimedia pieces. “It can be really taxing as an introverted person, and it takes me weeks to recover.”

But the occasional authentic connection or big sale can make it worth it. “You have one or two experiences with someone who’s got amazing feedback, and you’re like, ‘Wow, thank you so much for actually looking and caring and asking questions, ’ ” Zoss says.

Photo by Darin Kamnetz

Defying the wisdom that artists have better luck selling smaller, more affordable items during Art-A-Whirl, Zoss has sold large paintings for more than $2,000 in each of the past two years. Harper, meanwhile, populates the Rogue Buddha Gallery with items priced below $200. “I’m trying to cater to a wide audience that may be new to buying art, so I want to make sure I’ve got artwork that isn’t intimidating for them, price-wise,” he says.

Regular events, such as First Thursdays and Open Studio Saturdays, spread the Art-A-Whirl energy throughout the year. Many artists are also game to make one-on-one appointments with potential customers to show work or take commissions.

“When you need to get something for your friend’s birthday, instead of going to the mall, why not go to Northrup King?” Butala suggests. “Why not have it be the place you think of when you need a wedding ring or a custom piece of furniture? Normalize buying art.”

What do the artists and gallery owners wish people kept in mind when attending Art-A-Whirl? Here are some of their top tips:

Treat studios like stores

“I’ve always joked about getting a T-shirt that says, ‘This is not a museum, ’ ” Hossle says. Butala acknowledges that part of Art-A-Whirl’s appeal is getting to see where artwork is made, but artists are sometimes left feeling like monkeys in cages as people file through their studios acting more like spectators than consumers.

“I want people to realize that this is our livelihood; we’re not just there for entertainment,” Butala says. “Come to Northrup King as if it’s the Mall of America and be ready to throw down some money.”

Visit smaller spaces, too

“Dedicate a day to the big buildings [like Northrup King, Solar Arts, and Casket Arts], but then dedicate at least one day to the satellite spaces—people who have studios in their homes or the one-off buildings like Rogue Buddha Gallery, or buildings that might only have a few artists,” Harper advises.

Hossle says it’s easy to spend all day in the cluster of larger buildings. “Then you aren’t going to want to go anywhere else because you’ll be exhausted and your feet hurt.”

To combat this, tenants at the California Building banded together last year to offer art demos, classes, and free doughnuts in a successful push to get people to start their Art-A-Whirl day there. Seek out the treasures that await off the more heavily beaten track.

Make connections and buy art year-round

One of the best things about Art-A-Whirl is the chance for artists to make connections that develop into long-term customer relationships. Hossle doesn’t expect to sell many large furniture pieces during the festival, but he has found that people who discover his work at Art-A-Whirl remember him when they find themselves in the market for a dining table or liquor cabinet. “It’s interesting, the people who say they’ll reach out [who] never do. But you hear from all these other people that you had no idea were even in your studio,” he says.

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