Paddy Johnson

Like the painter, the ceramicist, the sculptor, the whoever, and how they might identify as a sole proprietorship or they get down the line a little bit and then they do an LLC.

What about these collective models that we have?

Personally, I've done a lot of work with artist-run spaces and collaborative spaces.

And it sounds like

This structure is really well suited to handling collaborations.

Can you talk about that a little bit so that we can get into some of the nuts and bolts there?

I'm just wondering if we can talk about a few more examples of how an ACORP could potentially benefit artists.

I think it was on the podcast that you did with Joshua Cittarella, you talked about

a situation where he had someone who had purchased some work from him, but at a very deep discount.

And the A Corp would offer a different scenario if he wanted to take that.

What would that look like?

That is a very big concern for a lot of people that I work with.

So are you saying it's just an easier thing to execute?

I'm not quite sure I understand.

So rather than having it necessarily go to kids where they don't care, even though it makes like legally, that would be the default.

You can easily assign that right from the get go.

So it takes care of a lot of things.

So I'm understanding it like one of the benefits of this.

And you said this early is like when you fill this out, it.

you just by virtue of the fact that you have to think about these things that you probably haven't been thinking about, you take care of all this stuff that you didn't know you needed to and often don't know until it's too late.