Matty Mo
speaker
116 appearances
1 recordings
1 series
first heard Jun 2024
last heard Jun 2024
Matty Mo’s voice in public audio — every appearance, attributed to the second.
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Appearances
Right. And if you get like a new local business that comes in, they're going to want something cool and splashy and they're probably going to be willing to pay you for a couple months of advertising.
Right.
I mean, cool artists are in small towns and they're waiting out and they're very hungry. It's just about building the frameworks around them to actually enable them to earn with their talent.
Another way you can kind of speed up your sales process is work with property developers that have tons of buildings. And then you can go out with massive scale to a big advertiser, like a Pepsi or Coca-Cola and say, Hey, do you guys want to buy 10 placements across this tier two city and do this really cool campaign?
And then you can charge some kind of crazy, like handholding services fee on top of the actual work and placements.
No. And then you become an acquisition target for a Lamar billboards or, um, colossal media. Um, cause they need to expand their current efforts, which are mostly based in tier one cities.
Yeah. If I was in a tier one city, I'd be doing that again, but, uh, I'm in a, not a tier one city anymore.
Exactly. Um, we'll go, we'll go with this art rentals business and we're going to do three art businesses. And then one that's kind of like, um, close to my heart, given the thing I'm doing out in Tucumcari, New Mexico. Um, so art rentals, there's this art dealer called Stefan Simkowitz, um,
who was referred to by the New York Times as the patron Satan for his art collecting practices and the way he views the art world. I think he's a genius. And he does a couple things. One is he goes to artists and says, hey, I'll pay for all of your production and your studio, and I'll pay you a living wage, but all the work you create, I get to own and sell.
And in some cases, you get a rev share on. And what that does is it enables him to amass a massive inventory of art at a relatively low cost per unit. It also allows him to control the supply of a particular artist's ove or production, which can influence prices down the line. And in some cases, if the artist blows up, you've got all this inventory that's super valuable.
And that's happened to him for a couple of times. This other thing that has happened is he's got this massive inventory of art and he was trying to think about what to do with it. And so he started to rent it out to interior decorators and tier one cities. Um, people that kind of like stage homes, like 10, 20, $50 million homes in LA put really good art up.
And oftentimes, uh, the house just gets bought with the art in it if it's well-placed. And so he liquidates his inventory. He's getting a rental fee and he's getting a services fee to transport the work from his warehouse and install it. Now that works really good for high-end art in tier one cities.
But the thinking is if you're in a small town or let's call it a tier two city, not a small town, and you can go network in with the art community, I'm willing to bet there's a lot of inventory just sitting around with nothing to do. Artists make work. They don't know how to sell it yet. Their demand hasn't caught up with their production. They're not at where they want to be just yet.
So you say it to them, let me consign this work, which effectively means let me take the art, place it, sell it, and take a percentage of the sale in order to do that work for you. And for many artists, that's awesome because they don't want to be sales agents.
And so if you go and get enough of this work signed up, you photograph it, you inventory it, you build out a database of this work, you go talk to interior decorators, you go talk to commercial developers who are building big buildings, you go talk to hotel operators, And they're willing to lease this work from you.
And you could charge something like 10% of the sale price with an option to buy it after seven years or 10 years or whatever, or a discount if you buy it after three. You charge a services fee for an installation. So the lease or would likely want to keep the art for a while because they have to pay an installation fee and a de-installation fee.
And you effectively create a subscription revenue model out of this remnant art inventory. You give a rev share back to the artists for enabling you to have access to the inventory. And you just manage a massive database of artwork sitting in studios.
Precisely. And it largely requires a reframing of what art is. Some people think of art as like... the most important cultural artifacts of a generation. And to be real, many artists are not making the most important cultural artifacts of a generation. They're making pretty things. And what are pretty things? Decorations.
So if you're selling decorations and you can realize as an artist, you're the maker and seller of decoration, you probably want to sell through the appropriate channels, your decorations.
I don't quite get how that works. I think it's different than art in that.
Showing 41–60 of 116 · page 3 of 6
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