Theresa Hubbard, the powerhouse CEO of Fractured Atlas, joins NOT REAL ART this week for a lively chat about collaborating on the Arthouse project, an unscripted TV show that aims to connect real people with real artists to buy original art without breaking the bank. During our conversation, Theresa emphasizes the importance of fiscal sponsorship for artists and creative projects like Arthouse, illustrating how Fractured Atlas has evolved from a production company into a crucial service for artists over the years. 

We dive into the fantastic work Fractured Atlas does to support creatives through crowdfunding, making it significantly easier for them to get their projects off the ground. Theresa shares insights from her role within the organization and highlights how they’ve adapted to meet the needs of artists across the nation. 

Arthouse, as we explore, isn’t just a show; it’s a movement designed to demystify the art world and help everyday folks discover the beauty of original art. The initiative also showcases artists from diverse backgrounds, emphasizing the importance of highlighting art beyond major markets. 

Special thanks to Fractured Atlas for their continued support of Arthouse. To learn more about Arthouse, support its mission, or nominate your favorite artist for future episodes, please visit Arthouse on Indiegogo. 

For more information, please visit https://notrealart.com/fractured-atlas-arthouse

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Greetings and salutations, my creative brothers and sisters.

Welcome to Not Real Art, the podcast where we talk to the world's most creative people.

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Sourdough coming at you from Crew West Studio in Los Angeles.

Man, do we have a great show for you today.

A vip.

A real vip.

Teresa Hubbard, CEO of Fractured Atlas, is in the house, here to talk about our little collaboration on our project Art House.

And we love Teresa.

She's been on the show before.

An incredible powerful leader in the arts running Fractured Atlas, $30 million arts nonprofit meant to really support, elevate artists and help empower their work through fiscal sponsorship and crowdfunding and what have you.

So we're going to talk about Fractured Atlas here in a moment.

So before we get into that, of course I want to thank our fiscal sponsor.

Arturial Arturo is an arts nonprofit and we have fiscal sponsor ship through them.

And that means basically that you can support our show.

You can donate via notrelart.com or arturial.org and make a don to support our work so that we can keep it free.

Free of cost, free of advertising, all that good thing, all those good things.

So please, by all means, consider supporting us, supporting art, supporting our artists with a tax deductible donation either@notrelart.com or arturo.org okay.

Of course, as always, I want to thank you for being here.

We do this for you.

It's all about you.

And we're trying to just create content that you love and that benefits you, inspires you and edifies.

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Amazing content there.

So please go check out all the good, healthy stuff we've got for you@notrelart.com okay, today, today we have a VIP in the house.

The one and only Teresa Hubbard, CEO of Fractured Atlas, a 30 million dollar arts non profit that's been around about 30 years and they have, they do amazing work for artists.

Providing artists fiscal sponsorship, providing them crowdfunding platforms to raise money for their projects.

Incredible network of artists all over the country, about 75,000 artists and art lovers all over the country that support Fractured Atlas and the work they do.

And I've known Teresa for a few years now.

We became friendly, you know, I don't know, 10, maybe 10 years ago, but hit it right off, of course, for in, you know, just in terms of our mutual love for art and artists and our passion for supporting artists.

And when she heard about our Art House project, which you've heard me talk about on this show, she expressed real interest in collaborating and, and, and working with us on it.

And so I am thrilled, I am thrilled that Fractured Atlas and their board decided to throw in with us and actually financially support us.

They put in $25,000 into our project to film the pilot for the Art House unscripted TV show that we're doing about real people, meaning real artists or by real art without breaking the bank.

You've heard me talk about it.

In fact, I know you have because I talk about it every time.

And we are running a crowdfunding campaign right now and we do need your support.

If you go to art house tv show.com arthouse tv show.com you're going to go to our crowdfunding campaign or crowdfunding page and you're gonna be able to make a donation.

Whether it's one dollar or a thousand dollars or ten bucks or ten thousand bucks, it doesn't matter.

Every dollar adds up and we appreciate it.

And by the way, you get a.

Tax deduction for just your contribution.

So please, please, please consider going to arthouse tv show.com and supporting us today just like Fractured Atlas did.

We were so grateful and blown away that Fractured Atlas wanted to throw in with us and put for the first time I think in their history, they have decided to team up with a LA production company to crew West Studio, our company, to develop Art House because of course they realize that it's a platform for their artists to shine.

And as we travel around the country and make Art House come to life, we're going to be casting artists every, you know, three artists at every show.

Fractured Atlas artists are fantastic and we want them to be in our show anytime we can.

And so, so, yeah, so it's a great platform to shine a light on Fractured Atlas and their artists and all the Great work.

They do.

But also, you know, teaming up to collaborate on this project because, of course, it requires a lot of energy, a lot of talent, a lot of expertise, and a lot of money.

And so we're grateful, grateful, grateful for Fractured Atlas financial support of this important project.

Art house.

You, Teresa, came through to talk about not just art house, but of course, all the great work that Fractured Atlas is doing.

And so I just loved, as I always do, chopping it up with Teresa.

We could talk for hours.

And we're here today.

She's here today to talk to.

Talk to us.

And only we kept it.

We kept it to like, under an hour, so we did pretty good.

So without further ado, let's get into this awesome conversation I had with the one and only Teresa Hubbard.

Risa Hubbard, welcome to the show.

Thank you for having me.

I'm glad to.

To make an appearance again.

Oh, my God.

Yeah.

You're like the returning champion.

I love it.

We didn't scare you away last time.

You've come back for more.

No, and I think last time we even ended saying we could talk for hours.

So maybe there.

There needs to be a repeat appearance.

I'm happy we could make that happen.

Yeah.

So that's a. Yeah.

You sort of know, you, you, you know, when you.

When you meet people, you sort of know instantly you know, whether or not, you know, there's real chemistry.

And, and, and you and I, that from the time we met, we just.

Conversation was always so easy.

Yeah, it was.

We hit the ground running from maybe 0-60 mph in a.

In a matter of a second.

In the matter of a.

Should I order coffee or should you?

Exactly, exactly.

Well, so let's get into this because you.

You are one.

So much going on, and for our listeners sake, let's remind them of the important work that you do because you run Fractured Atlas.

It's been around, what, 30 years.

The organization has touched the lives of so many artists, visual and performing artists, over the years, and now you've been with the organization for a long time.

You've essentially worked your way up the ladder, so to speak.

Now to a CEO.

How does that feel?

It feels.

You know, it's an honor to lead this organization that I so deeply care about and have cared about for so long.

It's also a challenge, you know, every single day, especially considering how the world is changing so rapidly and there are new punches for us to respond to seemingly every day, if not every week.

And so, you know, it feels great.

It feels amazing to be In a position and leading a company that I have put more than 14 years of my life into.

And it really gives me a different way to continue committing to the artists that I seek to serve through my work and have sought to serve through my work for the last 14 years.

Yeah, yeah.

And.

And you've seen, not only have you evolved and grown within the organization, but the organization has evolved and grown and kind of morphed and changed over the years as well.

I mean, it's incredible to talk, I mean, just for folks who don't know sort of where Fractured Atlas started and where it is today, sort of chat a little bit and talk a little bit about.

About the evolution of the organization and what you guys are doing now versus where you came from.

Oh, absolutely.

Our founder, Adam Hutler, actually started the organization as a production company, a performing performance production company based in New York city.

And when 911 hit was an opportunity for Adam to really reflect and decide whether another performing arts company as something that the city needed and something that the arts community needed, or if he could turn his focus to a different.

In a different direction with Fractured Atlas.

And so from there, he made the decision, you know, worked with the board at the time to make the decision to really transition into a service organization for artists.

And this was before the Affordable Care act.

So there wasn't a whole lot of opportunity for artists to get the essential care that they needed, the essential healthcare that they needed.

And from there on, it sort of turned into, well, what else is it that artists need?

What else can we deliver, deliver on?

And fiscal sponsorship, which is really our flagship program, was born from that idea, that idea of what else do artists need?

Because, you know, it's no secret.

Artists need access to funding.

They need.

They're.

They're doing public benefit work and which we can.

We consider charitable work and should have access to charitable dollars as a result.

And so through fiscal sponsorship, they're able to raise those funds they seek, seek tax deductible donations from individual donors.

They can seek grants that are typically only available for 501C3s or fiscally sponsored projects.

And it really opens doors to more types of funding for them so that they can introduce a new type of funding stream into their work.

And then over the years, you know, we have started and sunsetted other sorts of programs.

Liability insurance or business insurance, for example.

We had an online ticketing and CRM software for artists called Artfully.

And we had a space finder program which was kind of a marketplace for unique spaces that artists could use for things like rehearsal or exhibition or performance space.

But the emphasis was really on unique spaces so that you don't have to break the bank renting out a Lincoln center or like the Disney center in LA or something like that.

It allowed for a lot more for your money to go a lot farther when looking for space.

And unfortunately, we've had to sunset some of those programs not because we didn't think they were valuable, but because the business couldn't support them anymore.

And that has led to a lot of learning opportunities for us.

We're at a point now where we can start thinking about what is it that we can bring to the sector in the future and think about that really intentionally go into those intentionally with the goal of sustainability in mind so that we don't end up in a situation again where we, you know, we have to sunset some programs that are really valuable to the, to the sector.

Unless of course, there's a systemic solution for that.

That that can means that it doesn't need to be there anymore.

It doesn't need to be the gap that nonprofits have to fill doesn't need to be there anymore.

But I could, I could go on about that for hours and hours and how the government could, could provide more, more tools for artists, more things for artists.

But that's a completely different conversation.

Right, right.

That, yeah, that's talk about, talk about a long conversation.

Right.

Like that would be, that would be that there's a lot to, to mine there.

Well, you know, one of the things that I love about the story you're telling is just, you know, trying to meet artists where they live, you know, like trying to, you know, identify pain points.

Right.

In artists lives, careers, practices, and trying to figure out products or services that address those pain points and experimenting.

Right.

And trying different things.

And now after, you know, all these years, it feels like Fractured Atlas while it continues to be a fiscal sponsor for artists.

But you also have almost like a crowdfunding Kickstarter platform as well, which is remarkable.

Talk about that.

That's right, yeah.

So, you know, when crowdfunding became really popular, it was something that our artists came to us and said over and over again that they wanted to use.

And so we sought relationships with crowdfunding platforms.

We had, we had a long standing relationship with Indiegogo many years ago and also with a crowdfunding platform called Rocket Hub.

I Believe it was.

Which I don't actually think is a crowdfunding platform anymore.

Yeah, I don't know.

But it was really awesome because.

Or both of them were.

These partnerships were really nice because it allowed for tax deductible donations to be processed through these crowdfunding sites that were very popular.

You know, we had conversations with Kickstarter too, and recognized that Kickstarter is a really valuable asset for artists in getting their work funded.

But just with like the nature of how fiscal sponsorship works and the tax deductible donations, Indiegogo's flexible funding model was one that was really compatible with our program.

Fast forward something like seven years or so and the partnership was ready to retire.

And we realized that there was a hole that was being left by that.

And so we made the decision to actually build our own.

To say we are going to build a crowdfunding platform that is created for artists, buy artists, and seeks to serve our fiscal sponsorship program so that our projects could have a way to actually use crowdfunding tools without and still access the benefits of their fiscal sponsorship.

So that, that's really where that generated from.

And what it kind of grew into was a full fledged fundraising platform for our fiscally sponsored projects.

So in addition to the crowdfunding tools that have discrete goals and timelines and, and are usually suited to a specific project, they also have an ongoing.

The fiscally sponsored artists also have ongoing crowd fundraising pages where they maintain a profile that can be a little bit more evergreen and collect donations, tax deductible donations through that, that page as well, that profile page, so that there are options for both evergreen ongoing fundraising and goal specific, time specific crowdfunding campaigns.

Yeah, it's, it's so wonderful that you guys did that because, you know, artists are unique in their needs, you know, and one of the things that I know you guys do, which is super helpful is, you know, artists get to keep all the money they raise and they can access the money the first week of the raise.

So if you're right, if you're trying to raise 10,000 bucks for a project and you raise 1,000 bucks the first week, they can act, they can access that money in real time.

Because of course we know that the work must go on and there's things that we're doing and for artists to.

Artists need that money to, to, to develop the work.

Right.

And it's just those little details, I think, that really speak to your understanding of artists needs.

I don't know if you heard through the grapevine or not.

But we are involved in a little crowdfunding initiative of ourselves, for ourselves, for a little project that we're excited about called Art House.

And I'm joking with you, of course, because you know very well what Art House is.

Before we get into it, I just want to thank you for your support of Art House.

And, you know, having Fractured Atlas involved in this project just is such a huge validation for the project itself.

It obviously means the world to us because of the halo effect that it creates, having such a storied, trusted, beloved organization like Fractured Atlas involved in the Art House project.

And so, before we get into it, I just want to thank you for throwing in with us, because it means a lot.

Thank you.

Oh, yeah.

Thank you for thinking of us, too.

These partnerships, these collaborations can be so valuable in the art sector because, you know, we can't do everything alone.

We can't.

We can't respond to everything alone.

And sometimes these partnerships are really essential in helping nonprofits achieve their mission.

So.

Right back at you.

Thanks for thinking of us.

And we're really excited to be involved.

Well, fantastic.

And, you know, I'm so glad I thought of you, too, because it just makes so much sense.

Right, because it's a one plus one equals three kind of scenario, I think.

Because part of the challenge for organizations like ours, yours, mine, et cetera, is that when we're trying to serve artists, artists are not a monolithic community.

And more to the point, I mean, there's a diaspora of artists all over the country, all over the world, and it's like herding cats sometimes.

It's like, how do you get in front of the artist?

Because many artists, of course, don't want to be necessarily called.

Maybe they don't have a phone.

Maybe they don't, you know, deal with email.

You know, some artists are quite recluse.

Other artists are very different.

I mean, artists are not a monolithic community.

And so when you're trying to serve artists, sometimes it makes sense to team up with other arts organizations, because also, it's very regional sometimes as well.

And the artists that Fractured Atlas serves are very different than the artists that we serve, maybe here in Southern California.

And so teaming up allows us to just cover more ground and work smarter.

Absolutely.

And Fractured Atlas is a national organization, and we are also fully distributed, so we don't actually have an office anywhere, which sometimes can result in feeling a little bit ungrounded.

And so a lot of what we're thinking about right now is how do we feel more grounded in communities and how do we partner with other organizations to help them amplify their own mission?

Because we have this national spread or reach.

And so this.

You're absolutely right.

We're not going to have the solutions for every artist because artists are not a monolith, but because we are but one organization.

And so sometimes it is rare, really important for us to think about these creative collaborations in order to reach all the artists we want to reach, but also so that artists can find us and the services that we can offer through these partnerships, 100%.

And with this project in particular, it's interesting too because listening to the evolution of Fractured Atlas and seeing these pain points in artists lives, right?

Whether it's, you know, affordable health care or whether it's, you know, services that they might need, you know, for insurance or business or what have you, you know, in terms of us and sort of our journey.

And I, you know, come from more of a background in advertising and marketing.

And then when I got involved in contemporary art and my partner and I had an art gallery for 10 years dealing.

So I've dealt with artists, both commercial artists and contemporary artists in many ways over the years.

And one of the things that I noticed that was a pain point was that artists, many artists really want and need help telling their stories and promoting their work.

And I just said to, I said, well, I can help with that with my advertising marketing background, you know, I can help with that.

We can help with that.

And so I guess because of my lived experience, I try to think about opportunities and ways of serving that are not just relevant and meaningful, but that are hopefully novel and innovative.

Right.

Because at the end of the day we have to innovate.

We have to come up with new solutions to old problems.

Absolutely.

And so one of the sort of, not only did I sort of observe that, you know, a lot of artists, most artists want help telling their stories and promoting their work.

I sort of also looked at it almost from an economical, like a, like a, well, an economical perspective, which is like, okay, if, if artists are struggling financially, right?

And they are, many of them are.

Thus the phrase starving artist, right?

That comes, you know, that's rooted in a trut.

And the truth is that artists struggle.

And so it ends up being an economic problem of economics, right?

So it's like supply and demand, right?

And so as I sort of looked at it, it was like, well, you know, we're never going to manage supply, nor should we.

I mean, artists are going to make it work, they're going to make art.

That's what artists do, you know, and they're not.

Right, right.

They can't, they don't have a choice, Right.

And they just want to make the work they don't necessarily want to worry about.

And many of them do take on marketing and advertising and promotion because they have to.

Right.

They're a small business or whatever, they have think about that stuff.

But you know, given a choice that you know, they would, they would really love to just focus on the work and let somebody else deal with the promotion, the publicity, the storytelling, the marketing, what have you.

Right.

And so, so that for me started this, this, this thought process of like, okay, well how can we help artists amplify and if we're never going to control supply, you know, the only way to put more money in artists pockets is to stoke demand, right.

And, and then that's where marketing and promotion and publicity and storytelling comes in.

Because you know, the only way we're going to stoke demand is by getting the stories out there and animating and empowering the general marketplace.

Right.

Because the first world of art that we love, the first world of art love going to a fancy white cube gallery and seeing an amazing one person show.

But generally speaking, I can't afford that artwork.

Right.

Who can?

And also those environments can feel very exclusive and very stuffy and kind of pretentious sometimes and people are intimidated to go in there.

And so what ends up happening is so many people end up buying mass produced kind of home decor or mass produced prints and art.

And that's a $7 billion category.

I mean the so called home decor sector, the prints, the art prints that people buy at Target or you know, name your store, that's a $7 billion category.

And I just, you know, started saying to myself that, you know, I bet you many of those people would buy original art, would spend more money buying original art to have a one of a kind piece to support local artists, to support their local economy.

If only they knew how, right?

If only they knew, like how can we connect?

It's almost like a dating show.

Like how do you connect the buyer and the seller?

Right.

How can we match make true love?

Right.

And that was the kind of the inspiration for Art House.

And you know, as you know, you know Art House is an unscripted television show about real people meeting real artists to buy real art without breaking the bank.

And we're not going to go to New York or Miami or Chicago or.

Well, I wouldn't say we are going to Chicago, but New York, Miami or la.

We're Going to go to Toledo, Ohio, we're going to go to Madison, Wisconsin, we're going to go to Albuquerque, New Mexico.

Right.

And try to connect artists with our buyers who, they may only have 500 bucks, they may only have a thousand bucks.

You know, maybe they only got 100 bucks.

What do you do when you only have 100 bucks and you're looking original art?

And so for me, Art House was just born out of this need and this passion to try to solve this problem for artists.

How can I find more demand for my products?

How can I put more money in my pocket and make ends meet?

And having a television show on a national platform like an HGTV or a A and E network or, or even if it's on YouTube, because by the way, everybody's on YouTube now.

If we can get a show out there that helps artists get more eyes on their work and more importantly, helps regular folks really understand that, yes, they can afford original.

They can go to artist studios, they can meet the artists, they can buy directly from artists and largely in their community or in their region.

And that's, for me, what has been so inspiring about this project and why I want it to succeed, because it truly would be a game changer for how artists connect with would be buyers.

Yeah, I completely agree.

And one of the things that really inspired me about the work was this idea of bringing art buyers, art patrons, into the community with artists and helping them foster relationships with one another so that, you know, there's the potential for word of mouth so that, that the buyer can say, can have a discussion piece in their house and somebody says, that's cool.

Who is it by or where did you get it?

And the answer is not going to be home goods or target.

The answer is going to be, I met this really cool artist, and if you're interested, I'm happy to introduce you to them.

But even if you don't, if you're not interested in this specific artist, I met two others who are also doing really cool work that I could put you into touch with.

And before you know it, hopefully you have a whole new community for these artists to reach and sell to and not have to worry about commission fees or, or gallery fees or, or anything there.

It is real organic relationships that they are building with real people who recognize that original art can take your.

It can make.

Can make a house, a home.

It can make it feel more comfortable and homey and not to mention, and maybe this is sort of a byproduct, but art is a really important way for us to build wealth in our society.

And so by investing in art, you are also investing in your own future and your own own wealth.

And I love that.

And let's unpack that a little bit, because I think what you're getting at is wealth of spirit, wealth of mind, wealth of.

I often say, for me, art is not an economic asset that I expect to appreciate because largely, art is a horrible investment economically.

But it's soul food.

I want art.

You know, I love art in my home because it feeds my soul, it feeds my spirit, it makes me think, it makes me feel.

And that's, you know.

You know, so many artists, like, they just.

They don't want you to that artist.

I know.

And I think you probably have the same experience.

Artists are not saying to their buyers, oh, buy my work because it's going to appreciate someday.

They're saying, buy my work because you love it and you want to look at it every day.

Oh, yeah, absolutely.

And because it makes you feel something, because it makes you ask questions, because it reveals something about your life that maybe you didn't know about before.

Yeah.

And you're right.

It's not.

It's not the best investment monetarily.

But we also, you know, we know that.

How do I want to say this?

There's some art that makes it it, and you never know who that artist is going to be.

100%.

I just.

Let's be clear.

It absolutely does happen.

I have art that's appreciated.

You know, I did.

But that's not why I bought it.

Right.

No, exactly right.

I bought it.

That's.

It's about intent.

Right, sure.

Like, we're not intending to buy art because we think it's going to increase in value.

We buy because we love it.

But.

Oh, by the way.

Oh, and five years later, you realize, like, oh, actually, it's worth a lot more now.

And that's a beautiful thing.

But that's not the intention.

Absolutely.

Yeah.

Yeah.

And, you know, so.

So it is.

You know, as I think about Art House and I think about, you know, the show, and as it will come to life and as people will watch it, it's like one of the things that I get excited about is that people will just start.

Well, there's a couple things.

One is people will just start becoming empowered.

It's like, oh, wait a minute.

It.

I. I could go visit an artist in their studio.

I can go visit this exotic animal in this exotic place called an artist studio, you know, and.

And.

And start to build that relationship that you talked about, you know, because having that one on one relationship with the artist is the best.

It's the, it's just the best.

It absolutely is.

And you know, one of my favorite parts about going to a museum, for example, is reading the plaques.

And you know, obviously it's going to, to take you a while to read all of them, but there's something so enlightening about what went into the creation of the art that you're looking at and getting some insight into the mind of the artist who created it and where they were in their life and who they were interacting with.

And this gives that opportunity without needing to go to a museum, without needing to go to a gallery.

It gives you firsthand experience talking to the artist, knowing them, knowing where they came from, hearing from them firsthand what their inspiration was and what they're trying to communicate through that art.

And that's unparalleled.

You know, very few people get that experience.

And it's a really, this is going to be a really cool opportunity to start normalizing that.

And I think another example of this happening is, I don't know if you all have like makers markets or, I mean, in la, they definitely do, but makers markets, they have something in New York called the fad markets.

And you, you go around to these tables that are, it's just, you know, a warehouse full of artists and you, you talk to them about their work and the materials that they're creating.

And it's just I, I so prefer spending time in those spaces and talking to the actual creators than a situation where, you know, you might be in a home goods or a target or feel like a brokered record at this point.

But it just makes the art in your house so much more unique to you, unique to your experience.

You have a story to tell about it.

I don't know, it's unmatchable.

It truly is.

And yeah, it truly is.

Just knowing that you have something that truly resonated with you in your home that is one of a kind or maybe limited edition, but.

And then, you know, the maker, you know, the artist, it's just a human, it's just a human experience, you know, and you know, the, the words that I like to use when I think about what we're doing with Art House is, you know, we're, we're demystifying and we're humanizing.

Right.

Like, so we're demystifying this like art world thing that people might be confused about or intimidated or just don't know.

So we're Going to pull the veil back and show them a very, very, you know, very real, true pathway.

Right.

And.

And.

And then.

So we're going to demystify, but then we humanize.

We're humanizing artists and, And.

And.

And the people that make artists art.

Because I think a lot of times, you know, most people maybe don't know artists, and they think of them as these exotic creatures that, you know, you never really know.

And turns out they're everywhere.

Oh, yeah, they truly are everywhere.

We even sort of.

We're reluctant to even give a definition to an artist or a creative because there's a little piece of art inside so many people.

And whether you identify as an artist or not, there is something that still connects you to art in so many cases.

So you're right.

Even if you don't identify as an artist, you might have a little piece of that artist inside of you.

And it's everywhere.

Well, and it's truly, you know, I mean, again, the first world of art, which we love, have done a great job of sort of making art a very exclusive thing.

And there are art experts that you should consult.

And by the way, there are lots of art experts that know way more than I do.

Yes.

But the truth is that with a show like Art House, we're actually honoring the fact that beauty is in the eye of the beholder.

And that means that you and I, who may or may not be art experts, we know what we like, we know what speaks to us or what doesn't speak to us.

And by definition, that makes us an expert.

Like, we know what we like.

Trust.

I feel that.

And that's one of the things that gets me excited about our house, because I feel like.

Like that it will teach people to trust their instincts, you know, like, you know what?

Oh, wait a minute.

I. I love red.

I'm gonna go.

I'm gonna go find some artists that love red too, you know, Or.

Or I.

You know, I'm a. I'm a fisherman, and I love fish, and I'm gonna find an artist that makes fish sculptures or something, you know, And.

And.

And so this idea that.

That, you know, hopefully when people watch Art House, they're going to realize that they are an art expert.

They know what they like.

They can trust their taste of their instincts because beauty's in the eye of the beholder.

And I feel like that's a message that doesn't always get talked about or shared, certainly in the first world of art.

But with a show like Art House, it's very Democratic.

It's a very populous mess.

Message.

Yeah, absolutely.

It just took me to a, a moment of decorating a house.

You know, anytime you move into a new apartment or, or house or whatever, you look for that one piece, you know, there's some, there's some unique need that you have, and you can't find the specs anywhere.

You can't find it at the furniture stores or, or online, you know, through, through your wayfarers.

And you go to Etsy and you find exactly what you need because you find that going directly to the artist, you know, issues with Etsy aside, you going directly to the artist, you find they're able to almost understand what art does, the purpose of art in a home, whether it's fabricated like a piece of furniture or something that you're going to hang on your wall, or they understand it in a completely different way than something that's mass produced can.

And that, I agree, is what's beautiful about art house is you end up going directly to the artists, finding that need that only you understand because it is unique to yourself and your taste and your preferences and frankly, the home that you're in.

You know, every, every home has different needs, it has different energies, it has different color scheme, sizes of wall, you know, everything.

Everything.

Yeah, and, and, and you know, and I'm just so excited too, you know, for the artists because, you know, the, the artists that are going to be on the show, you know, will, will.

Will get, you know, you know, national and, and international, even exposure.

And, and exposure could be kind of a dirty word.

Somebody corrected me the other day, said, you know, eyes on the work.

Eyes on the work.

I'm like, okay, want more eyes on the work.

And then somebody else had said to me a while back, said, well, wait a minute, aren't you concerned that the other two artists are.

Because we meet three artists every episode we meet three artists, and the family or the buyer or the person, you know, looking at the art will ultimately choose one artist.

So to go with.

And so somebody was saying to me, well, you know, aren't you concerned about these other two artists that will be, that will lose?

I'm like, no, no, no.

No one loses.

Because, you know, number one, artists are always happy for other artists when people collect their work or choose their work, number one.

Number two, it's a win, win for all the artists because they're getting exposure, they're getting eyes on their work whether they're chosen or not in the show.

And one of the things that I get excited about is this idea of down the road, we create this almost new marketplace for.

For artists to connect with buyers and people to buy art.

I can imagine that season two or something, we have a website where people can go and buy art directly from those artists that were on the show, that kind of thing.

So it's that kind of exciting opportunity that having an innovative, novel idea like an art house creates these new opportunities.

And we're just here to serve artists and help them tell their stories and promote their work.

And, Teresa, I'm just so grateful that Fractured Atlas has locked arms with us on this project, and I'm just so grateful for that, and I'm thrilled for Fractured Atlas artists that will have the opportunity to be on the show.

And whether they're visual artists or performing artists, we want to find opportunities to try to showcase and amplify Fractured Atlas artists on the series.

So it's exciting.

It's an exciting project.

It is exciting, and we are really excited to be part of this for the benefit of our artists as well, and also to really showcase the breadth of art that exists outside of these primary markets.

Because the United States is full of art.

It is full of art in rural areas, in smaller cities, in big cities, of course.

But this is a real opportunity to give, you know, exposure, like you mentioned, to the artists, but also to the art and the culture of the city that.

That is being featured.

City or location that's being featured.

And I think that's really, really exciting because that art is important, too.

And that art, those artists are important, too, and they deserve every bit of recognition that the artists in the primary markets do.

Absolutely.

Absolutely.

Yes.

For sure.

I mean.

I mean, there's so many cool communities I can't wait to go to.

I know, I know.

It's.

Yeah, it.

All the neat.

I say neat.

You know, just the neat places, the amazing art and artists that we're going to discover.

It's.

It's like part travel show really, as well.

Right?

It's like part home design, part travel.

You know, something there for everybody.

Fun for the whole family.

Absolutely.

Absolutely.

Well, Teresa Hubbard, you are the best.

Thank you so much for taking time out of your busy schedule.

We're running a $30 million organization like Fractured Atlas to come sit down with me and.

And chat about our collaboration on Art House.

Thank you so much.

Much.

Thank you.

It's always a pleasure.

Have a great day.

Thanks.

You too.

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