In today’s episode, we shine a spotlight on Linc Thelen, a Chicago-based artist who plays a key role in Arthouse, an unscripted home design television show. Produced by Crewest Studio and supported by the nonprofit Arterial, NOT REAL ART’s fiscal sponsor, Arthouse aims to bridge the gap between talented artists and everyday people, redefining how art is experienced in personal spaces. With a mission to democratize art, Arthouse empowers viewers to curate authentic artwork that aligns with their tastes without straining their budgets. The show's concept centers on eliminating intimidation in art collecting, providing local artists with a platform to showcase their work directly to buyers.
To support this vision, Arthouse is launching a crowdfunding campaign to raise $150,000 to produce a full-length pilot episode. Set in Chicago, the pilot will follow an individual or family as they explore local art scenes, visit artist studios, and make informed purchasing decisions with the help of host Carmen Acosta. The campaign, running from June 10 to July 25, 2025, on Indiegogo, offers a unique opportunity for art lovers to contribute to a project that aims to transform the way we perceive and appreciate art in our daily lives.
As the featured artist in the Arthouse sizzle reel, filmed in Chicago last year, Linc brings a unique perspective on how this groundbreaking initiative is reshaping the relationship between artists and the public. With a mission to connect real people with authentic art, Arthouse aims to eliminate the barriers that often separate original artwork from everyday life.
Linc also shares his artistic evolution, discussing the challenges he has faced while navigating the contemporary art scene. His involvement with Arthouse reflects his deep commitment to making art accessible to everyone, not just art collectors and gallery-goers. Throughout our conversation, Linc emphasizes the importance of fostering emotional connections through art, reminding us that the true value of a piece lies in its ability to resonate with individuals on a personal level. Listen to our conversation with Linc Thelen on the player above, or support Arthouse here.
Links mentioned in this episode:
For more information, please visit https://notrealart.com/linc-thelen-arthouse
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The Not Real Art podcast isintended for creative audiences only.
The Not Real Art podcastcelebrates creativity and creative
culture worldwide.
It contains material that isfresh, fun and inspiring and is not
suitable for boring old art snobs.
Now let's get started andenjoy the show.
(00:48):
Greetings and salutations, mycreative brothers and sisters.
Welcome to Not Real Art, thepodcast where we talk to the world's
most creative people.
I am your host.
Faithful, trusty, loyal,tireless, relentless host.
Sourdough coming at you fromCrew West Studio in Los Angeles.
Man, do we have a great showfor you today.
The one and only Link Taylon,hailing from Chicago, is here in
(01:09):
the house to talk about someexciting work he's been doing lately.
Can't wait to get into this conversation.
Link's been on the showbefore, but he's got some exciting
news to talk about and I can'twait to get into this interview with
him.
But first, I want to thank youfor tuning in.
As always, we do this for youand your loyalty means the world
to us.
Of course, I want to thank ourfiscal sponsor, Arterial, Arterial.org
(01:30):
because of Arterial fiscalsponsorship of our show, you can
support the show with thefinancial donation that's tax deductible.
You can go to our website,notrelart.com or go to arterial.org
and make a donation there tohelp support the show and get that
tax benefit.
So thank you to Arturial fortheir underwriting of this.
Of course, I want to encourageyou all to, as I always do, to go
(01:50):
to the website notrealart.comand check out all the good, healthy,
nutritious stuff we got therefor you.
All kinds of amazing storiesabout artists and all art things
like remote and First Fridaysand Q and R and just all these incredible
exclusive stories and contentthat you can only get@notrealart.com
so please go check it out.
And last but not least, I wantto tell you about a very important
(02:13):
project that our company, CrewWest Studio.
Crew West Studio, the companybehind this podcast, is is embarking
upon.
We are actually in the middleof a crowdfunding campaign to raise
money to shoot our pilotepisode for Art House.
Art House is a realityunscript, the reality show about
real people meeting realartists to buy real art without breaking
(02:34):
the bank.
We are trying to raise$150,000 to get our new host, Carmen
Acosta, in front of the camerato shoot the pilot episode in Chicago.
And that's an interestingsegue into our conversation today
with Link Taylin, because Linkhas been on the show before as an
artist talking about his work,give you a little bit of, a little
bit of background on Link.
Of course, you know, Link'sbeen making art since he was a kid.
(02:57):
He's been evolving hisaesthetic for years.
In, you know, the last, youknow, 10, 15 years, he's been experimenting
with circles and spheres and,and that has led him into a really
interesting, energetic body ofwork full of light and texture and
color that creates spontaneousemotion that reflects the fluidity
(03:18):
of life.
His work and Links, he's alsoan interior a designer and an architect,
by the way.
And his work, his artwork andhis interior design work has been
featured in publications suchas Luxe Interiors and Design, Curved
Apartment Therapy, HouzzDetails, Architectural Digest, Home
and Garden.
He's been on hdtv, he's beenin Chicago Weekly, on and on and
(03:40):
on.
He's of course, showninternationally in his work as well
as well as publications.
So Link is world class, nodoubt, and his connection to Art
House is interesting.
So a year ago we wanted to doa proof of concept for our Art House
project.
So we flew to Chicago andyours truly stood in as the host
(04:01):
for the proof of concept.
And Link Tailin was one of thethree artists that we looked at and
the client looked at Nisha,Nishal, the, the, the young couple
looking to buy art.
And they looked at threedifferent artists and Michelle Richardson
Albinos was one of theartists, Liz Flores was the other
artist and Link Taylin was thethird artist.
And they ended up choosing Link.
(04:21):
They and their budget wasabout $5,000 and they were able to
work with Link and find apainting that fit their budget and
was placed in their home.
And it was a wonderful,wonderful experience for everybody
involved.
Link enjoyed himself.
Nisha, Nishal enjoyed themselves.
I enjoyed myself.
And it was just such awonderful kind of part of the journey.
(04:41):
As we're now ramping up to ourcrowdfunding campaign to shoot a
proper 30 minute pilot, we'regoing to go back to Chicago to do
that with our new host, theone and only Carmen Acosta, who's
been cast.
So we're very exc.
And Link came back on the showtoday to talk about his experience
working with Art House, whathe thinks a show like Art House means
for artists like him and forregular folks out there in the world
(05:04):
shopping on a budget andwanting to live with real art in
their lives.
So this conversation forLincoln, I was a lot of fun because
we're able to kind of go back.
Of course, Link and I have aLong history together.
So without further ado, let'sget into this.
But before we do, of course Iwant to encourage you to please,
please, please considerdonating to the art house crowdfunding
campaign.
We're trying to raise 150,000 DOL.
(05:25):
And your donations are taxdeductible because arturial is the
fiscal sponsor for the arthouse project as well.
So every dollar donated to theproject is tax deductible.
And of course, we haveincredible perks and rewards and
incentives as well that youmight want to choose from.
So please consider helping usachieve our goal of making this pilot
because it's going to be agame changer for how people learn
(05:47):
about artists and art and agame changer for artists in terms
of getting more eyes on their work.
So we're very excited about this.
Please, please, please help usreach our goal and tell all of your
to.
So without further ado, let'sget into this conversation I had
now with the one and only Link Taylon.
(06:12):
Link Taylon, welcome to the show.
Thank you.
Thank you.
Scott Power.
Thank you for having me, man.
It's.
It's always a pleasure, youcoming through.
You and I, we go back a few years.
I've had the privilege ofwatching your art career blossom
from being an art studentbecause, yes, we go back that far,
basically.
Let's just say, let's see howfar it is.
Like maybe three decades.
(06:32):
I was just thinking about it today.
I'm like, it's about threedecades now.
Three decades, dude, how didthat happen?
I turned 55 the other day, man.
I mean, you know, like, howdid that happen?
Yeah, I don't look a day over 54.
So, yeah, craziness.
And it's been such a Cool.
As your friend, you know.
You know, it's been so awesometo see your career blossom because
(06:54):
you've always been so focusedand disciplined and bringing that
midwestern work ethic, letalone your intelligence, to your
arts practice.
And your career has just blownup over the last 30 years, and it's
just been a pleasure to watch.
Thank you.
And it's.
Yeah, one of our first outings.
I remember going to your placeand you had some graffiti artists,
(07:15):
like, completely, like, paintthe entire hallway wall in your place.
And I was like, what is thisguy doing?
What the hell is that?
It was cool because, you know,I was more into traditional painter
at that time.
But, you know, so we alwayshad a connection with.
With the arts at a very earlystage of our friendships.
(07:36):
Yes, we did.
And by the way, by the way.
True story about thatparticular artist and that painting,
like, I'm pretty sure that heshowed up drunk.
The execution was a little.
Not what I was expecting, butit was.
It was cool.
To have art is.
Is so important, right, tohave in the home, you know, and I
think of art as soul food.
(07:56):
You know, I mean, I think thatthere's like a narrative, you know,
people, you know, certainly anarrative if you're of a certain
tax bracket or whatever.
People are buying art as.
As economic assets as a way of.
Of.
Of.
Of avoiding taxes or.
Or putting their millions ofdollars into pieces.
And that's a whole nother world.
Right?
But.
(08:16):
But you and I come from aworld where your pieces aren't inexpensive
now.
I mean, your career has.
Has blown up in such that nowthousands of dollars, if not up to
15,000 or more.
So you're doing very well.
But.
But generally speaking, youand I both know, right, that art
is a horrible investment financially.
You know, it's about soulfood, right?
(08:37):
I mean, we want people to haveyour art and artwork in their homes
because it makes them feelsomething, right.
That it moves them in some way.
Absolutely.
And I think, you know, overthis last decade is, you know, my
work is really connected with,I think, a mainstream audience, and
that's why it's done so well.
And a lot of families have it.
(08:58):
I have.
I have clients that have.
Buying paintings for theirkids and, you know, their grandkids
and stuff like that.
And, you know, they.
It brings joy to them, which,you know, it's.
That's why I'm doing it.
You know, it's not just thatthey have joy.
It's just that we have aconnection, you know, and it comes
across into the canvas andthey're able to experience that.
(09:18):
So it's.
It's a joyful time for sure.
And, you know, and what I loveabout what you just shared is that
it becomes like a family heirloom.
Right?
I mean, the fact that, that,you know, because I have a couple
of your pieces as, you know,and I know my kids, you know, are
going to remember they'regoing to inherit your work and they're
going to have it in theirhomes and they're going to remember
me and their mom and theirhome because they're going to connect
(09:42):
visually to your artwork.
They're going to remember you,obviously, as a.
As your artwork.
And so whether artworksappreciate, you know, an economic
value, they certainlyappreciate an emotional value.
And.
And that emotional connectionand becoming family heirlooms, for
example, and.
And I just.
I just love that.
And.
And, you know, it's just beenso cool to see that people resonate
(10:05):
with your work, because, youknow, one of the things that I love
about your work is that there it.
Your.
Your pieces exude energy and.
And create an atmosphere, anddepending on your color palette or
maybe who you're commissionedby, what have you exude a joyful
energy.
They can exude a more of amasculine energy, you know, so it's.
(10:28):
I love your work because, youknow, I know in my room, you know,
we have one of your pieces above.
Above our bed, and it's so soothing.
You know, it.
It.
It's a beautiful thing to goto, wake up to and, of course, you
know, go to sleep, too.
Yeah, yeah, yeah, yeah.
Not that, you know, your workputs people to sleep, but, you know
what I mean?
We try to create.
So people ask, hey, when's thepainting finished?
And that's, you know, try tomake it calm.
(10:49):
You know, at the end, that hassome resolution, like, there's some
conflict inside the paintingon the canvas, but you see it being
resolved, and that's throughcolors, tones, and composition.
And at the end, it lendsitself to people that create their
own imagination to get to thatplace of relaxation.
And absolutely, like, that'swhat I try to achieve in the work.
(11:11):
And just like you said, youknow, some are masculine, so I do
attempt to try differentthings with the colors.
Some are darker tones, masculine.
Some are pinks and lights and greens.
So it's really experimentingwith all those tastes because it's
like a movie, you know, youwant that.
Different characters, and sothese canvases are different characters.
For sure.
(11:31):
For sure.
And, you know, we're heretoday to talk about your, you know,
support of a project that I'vebeen developing and the collaboration
that you and I made togetherlast year on this project, this project
called Art House, about realpeople meeting real artists to buy
real art without breaking the bank.
And we'll.
We'll talk a little bit moreabout that, actually.
(11:52):
We'll talk a lot about it in.
In just a few seconds.
But before we get into that, Iwant to check in with you, though,
and.
And ask how the heck thingsare going.
I mean, you're in Chicago.
You're busy as heck, as far asI can tell.
Of course, you're also married with.
With amazing children in yourlives, in your life, and.
And.
And you're a busy man.
Say nothing of your, you know,your hockey career.
(12:13):
You know, a lot going on.
But what.
What is happening in the artmarket in Chicago.
How are things going for youthese days?
Things are good.
I mean, the.
The art market, I think sincelike, say 20, 22, 23 isn't as hot,
I don't think, as.
As it is now.
It's still steady.
I have a lot of patrons, andluckily, luckily, I worked really
(12:36):
hard at diversifying my workto be nationally and internationally.
So I'm not just working in thepocket I live in.
So I didn't.
Like, I'm going to be in onegallery in Chicago, and I'm going
to put all my focus here.
I made sure that.
To diversify it in different markets.
So I'm in.
I sell in California quite a bit.
(12:57):
I'm in Florida, London, Parisand New York gallery.
And then I work with a bunchof art consultants that are in Dallas,
Chicago.
And that's.
That's really helped with themainstream of like, continuing sales,
really.
But, you know, with art, itdoesn't matter, like, yet.
It's been very successful interms of where I'm at now.
Every.
(13:17):
Every new, you know, season islike a new challenge.
So it's like starting over.
You know, you want to keep onrecreating yourself and not creating
the same type of work.
You want to keep living.
And so you got to keep exploring.
And so it's, you know, it'salways, you know, it's still a challenge.
Well, and by the way, youmentioning that totally reminds me
of the fact that again, we'veknown each other so long.
I remember when you gotfixated on studying circles and spheres
(13:43):
and, you know, and then in howthat kind of exercise and that that
study eventually evolved overyears into the work that you're making
today.
I mean, I can see that studyfrom 20 years ago now almost or 15
years ago in your work today.
It's such a.
Interesting and kind ofwonderful evolution.
Funny.
Bring that up that in like,2012, which I.
(14:06):
I know it's 2012 because theclient emailed me a few months ago
and says, hey, I have one ofyour paintings, but can you make
a pear painting for a pair?
You know, another paintingthat can go side by side with it?
And I'm like, God, I'm like,looking back in the emails, I'm like,
I remember you buying a piece,but I'm like, God, that was so long
ago.
Can I even, like, recreate something?
(14:26):
You know, because it was anera, you know, so, like, I'm like,
I'm gonna have to make acouple of them for you.
But then it's funny, I Had agreat time.
I said, can I have the oldpainting so I can look at it and
kind of go off of that oneand, you know, interpret my new process?
And then we didn't discuss money.
And then when I went todeliver a painting, I'm like, I hope,
(14:47):
you know, my prices havejumped quite.
We bought this painting.
Inflation.
It's been a long time.
I'm like, you know, I probablygave you pretty cheap.
So 15 years ago, I feel, I.
Like, feel bad, but I want tomake sure I could make the painting
first before saying, like, avalue to it.
(15:08):
So that's one thing.
Like, commission wise, I don'tlike taking deposits.
I don't, like, have any constraints.
The work has to be real andthat experience has to be real for
it to, you know, convey on thecanvas that way.
So, you know, like a lot ofours, they don't want to charge anything,
but, you know.
Right, right.
(15:28):
So that's hilarious.
That's, that's, that's great.
Well, keep us posted on that.
Did they.
Do they get sticker shock or not?
Oh, my God.
No, she actually gave me a tipbecause she's like, you know, because
I still gave her a deal.
She's like, no, you know, I'mlike, I've been following you.
I know.
So she, you know, she.
Okay, good, good tip on it.
So here, if she divides it bytwo, it's still, she's still coming
(15:49):
in at a bargain, know?
Yeah.
So that's, that's great.
Well, look, I mean, that'sgreat to hear, man.
And, and, and that's one ofthe things that I've always appreciated
about you, is that you'vealways worked to be as strategic
and as well strategic aspossible and as smart and intelligent
as possible about, you know,you know, how you, you know, not
(16:09):
just how you make work or whathave you, but, but just where, you
know, your evolution andstaying challenged and creating new
work and growing yourcollector base and growing your market
and, and that's, that's, youknow, you know, quite frankly.
Right.
That's kind of rare in a lotof artists to have that kind of,
you know, discipline andacumen, you know, So I think you'll
(16:30):
learn a lot from the otherartists listening.
Call Link.
He'll tip.
Pro tips from Link.
Well, you know, you know, eventhose really successful companies
like a Coca Cola, you know,they advertise.
Why are they spending all this money?
They.
Aren't they already a bigenough company?
No.
You have to pound the pavement.
I don't care how yes, well,you've done.
And you can't put all youreggs in one basket.
(16:51):
You have to diversify and youkind of have to be at level, keel
level because, you know, upsand downs, you have to be able to
work through that, you know,you can't.
Those highs and lows, you gotto kind of keep it at even keel so
it's steady, you know that.
Right, right.
And you can't expect like somegreat things happen.
And you know, I remember beingin the magazine, being published
(17:12):
and first time, and I'm like,I'm going to get so much work out
of this.
Just doing a huge write up.
And you know, it was yearslater, probably even four or five
years later, I had someonecome to the studio.
It's like I had a clip out ofthis magazine, I've been saving it
and I want to buy one of your pieces.
But you know, there it is fouror five years later and that piece
that was in that magazine, itfinally like it took that many years
and I got probably three orfour commissions off of it, but it
(17:34):
wasn't right away.
So you can't expect, you know,instantaneous, you know.
Yeah, play the long game,people play the long game, that's
for sure.
That's right.
Well, so speaking of marketingand promotion, I mean, that's kind
of a really good segueactually into what I wanted to talk
about with you today, which isArt House.
And Art House is for thosepeople listening that may not know.
(17:57):
Art House is an unscriptedtelevision show series that, that
we've been developing and wewant to make.
And Art House is about realpeople meeting real artists to buy
real art without breaking the bank.
And you and I both know thatthere is a ton of artists, a ton
of art out there that, youknow, price anywhere from as low
as $100 up to $5,000 or $10,000.
(18:21):
There's so much art out therepriced below these numbers that most
people can afford out there.
And you know, but a lot oftimes people are maybe confused or
intimidated or don't really know.
You know, they might, they maynot want to go into an art gallery
because they feel intimidatedor they feel like they can't afford
art.
They may not know they can gostraight, maybe reach out to an artist
(18:44):
and visit an artist studio andbuy directly from an artist.
And that's kind of on the whatwe'll call the market side or the
demand side.
And on the so called supplyside, artists, I mean, artists generally
don't get a platform to atthe, to promote and market their
work at scale.
And so a lot of times artistsare struggling to make ends meet
(19:04):
locally or regionally or maybethey have a website and they're trying
to sell to people around the world.
But it's hard, it's a struggle.
I mean, with any business orproduct, you know, marketing sales
and converting, you know,prospects into sales.
I mean, it's, it's a, it's adifficult proposition.
And artists generally justwant to make art, right?
And historically they'verelied on their gallery or their
(19:25):
dealer or what have you tohelp tell their stories and promote
their work and sell their work.
And that's great.
But in our view, in my view,you know, the kind of existing art
gallery model is just onebusiness model that unfortunately
doesn't really serve 99 pointpercent of artists out there.
You know, and so there's thishuge number of artists, hundreds
(19:46):
of thousands of artists inAmerica that, that, you know, need
support in terms of gettingtheir stories out there, promoting
their work.
So personally, it was duringthe pandemic I saw, you know, Netflix.
I was, you know, likeeverybody else watching every show
on Netflix and a show calledChef's Table came on and I just loved
that show because it was sobeautiful to watch, but it really
(20:11):
focused on a chef and itfocused on that chef and how they
think about food and feedingpeople and how they make their dishes
and all these things.
They might grow their owningredients, you know, farm to table
stuff.
I mean, it was just, and itwas just this beautiful show.
And I thought, man, you know,like, like what an interesting way
to maybe even promote visual art.
(20:34):
And wouldn't it be cool to gointo an artist studio and learn about
art making and learn aboutthat artist, so on and so forth.
And of course the show Chef'sTable on Netflix, I mean, they spent
millions and millions ofdollars on that production.
It looks great, you can see it.
But I was thinking, well, ifwe really want to do a show that's
democratic and helps todemocratize art and really helps
(20:55):
to promote artists and art atscale, and we can help like real
people learn about art and artmaking, well then we need to maybe
think about a show that couldbe on HGTV or PBS or some other,
you know, maybe YouTube orjust some other platform, maybe Netflix
too, you know, whatever.
But this idea of like, okay,how do you take a show like Chef's
(21:15):
Table and, and, and that someDNA from Chef's Table and how do
you take some DNA from a showlike House Hunters and combine them
and come up with somethingthat would benefit artists, working
artists in America, as well asbenefit Americans who are curious
and want to learn about artand buying art.
And so, you know, it wasn't long.
I came up with this idea forArt House.
(21:37):
And again, Art House at itscore is about real people meeting
real artists to buy real artwithout breaking the bank.
And so when I got the idea, Istarted talking to some people and
they really resonated with them.
And I was able to put aproduction team together of veterans
from Hollywood who have beenmaking HDTV shows like House Hunters
(21:58):
and Designer's Challenge.
And we decided that we wantedto do a kind of a proof of concept
kind of pitch reel, the short,you know, five, six minute thing.
And we wanted to come to Chicago.
We were, we were.
We were, you know, we wantedto do it there.
You know, people were asking,well, you know, you know, who do
we know in Chicago?
(22:19):
I was like, link tail.
And we know Link Taylor.
We got it.
We got to reach out to him.
And I was a little nervouscalling you because you know me very
well.
I figured you'd tell me tofuck off because you know me so well,
but you didn't.
You had.
You had mercy on your old paland you decided to throw in with
(22:39):
us and.
And you were the featuredartist in our.
In our little proof of concept video.
And, man, I, you know, I justwant to thank you for being a part
of that.
Oh, no, thank you for evenconsidering me to be part of it,
since we are friends.
But, you know, to work withthe people that you put together,
the production company and,you know, the homeowners, is, you
(23:01):
know, it was a greatexperience for everyone.
I mean, we had great.
We had a blast, you know, andit is.
It is good to be able to sharethe techniques and spend time in
the studio and have, again,homeowners come in there that probably
would have never had a chanceto come to the studio or, you know,
wouldn't know who to call.
And like I said, you hit thenail on the head.
It's, you know, it'sintimidating going to the galleries.
(23:22):
You know, I'm intimidated, youknow, feel like, yeah, I like to
even look at the work.
I'm not there to buy this.
Can I even be in there?
You know, you know, so it'slike, oh, it's too expensive.
It's an unsettling feeling.
You should be able to walkinto a gallery and feel at home.
But it, for me, it.
It's somewhat cold sometimes,you know, and like I said, it's intimidating
(23:46):
because typically thegalleries, and again, not nothing
against the galleries, youknow, but it's usually someone at
the desk and they're just kindof looking at you.
You know, it's.
It could be the same for them.
Meaning, like, it's a littleawkward at first or, you know, because
you don't want to be pushy.
You want to give people space.
So I think, you know, youcoming up with gets rid of that,
that, you know, that it allowspeople to engage with the art and
(24:09):
different artists and see theprocess, you know, to them have a
better understanding.
And that's what, you know, Art House.
Has done well, for sure, and Iappreciate that.
And, and it's so true.
I mean, it's so interesting, right?
I mean, here you are anartist, very successful artist, you
know, generally speaking.
And, and, you know, only, youknow, working, continuing to work
(24:30):
hard, continuing to get yourwork out there in the world.
And, and even you are, youknow, turned off a little bit or
int when you go into a gallery.
And I, by the way, I've talkedto a lot of artists that feel that
way.
Right?
Isn't that interesting?
You know, and, and how can a show.
What can I do?
What can we do?
What can my company do?
Crew West Studio todemocratize art.
(24:50):
And that phrase, democratizeart, that, you know, that means,
you know, that's rooted inthis idea that art is for everyone.
You know, art shouldn't bejust some exclusive elitist thing.
And by the way, that's bad forartists because artists are trying
to earn a living.
And, you know, and mostartists that I talk to want people
to buy the art because theylove it and want to see it every
day and it makes them feel something.
So, like, that is, I think,the ethos of a show like Art House
(25:13):
to try to, you know, connect,you know, the, the, the artist with
the, with the, the potentialbuyer and, and help educate and inspire
and empower.
And I think that's what ArtHouse is all about.
And so this pitch reel we puttogether with you is, you know, just
a taste of that in terms of,like, what the show is.
I mean, the show will, a fullepisode will be like 30 minutes.
(25:36):
But, but, you know, our littlesegment was like six, six when I
called you that day.
So, I mean, shit, that was,you know, year and a half ago now,
probably maybe two years ago,I called you to tell you about Art
House.
Do you remember sort of whatyou were thinking or what you thought
about when you heard about the concept?
I thought it was A coolconcept, you know, and after you
brought up the Farm to Table,that TV show, you know, immediately
(26:01):
went on there, and I reallygot what you were talking about,
and, you know, you got toreally know the.
The chef and the person.
And a common theme in thatshow is just you could see the love
that each chef had.
And, you know, througheverything, it's not about just eating
the food, it's how hepresented it, how he sourced it and
(26:23):
all that.
And so that's the same withthe painting.
It's not just looking at the painting.
It's getting to know theartist, you know, getting to know
the ingredients, like whatmakes the art art, art.
So I thought it was, you know,a brilliant idea.
And it's.
It's hard to combine that.
How can you create a showabout art that's.
That could connect differentaudiences and stuff like that.
So come up with an idea aboutgoing into different cities, different
(26:45):
types of artists, differenttypes of clients with homes, you
know, and having them selectfrom a group of artists.
It's a great idea.
And I think a lot of people,you know, I think it will resonate
with a lot of people.
It'll be interesting to see,you know, some of the.
Some of the stuff that you cancreate, you know, for sure.
And it's.
And it.
It's interesting.
I was talking to somebody theother day who.
(27:07):
Very successful guy, very successful.
And you would think that, youknow, he would be very comfortable
going into art galleries andbuying art.
And he was telling me he was,you know, he heard about Art House
and he said, man, he goes, Ican't wait to see the show.
I would love the show.
He's like, my wife and I wentto, you know, into these art galleries
over the weekend because we'reinterested in getting art.
And.
(27:27):
And he said we were completelyturned, you know, intimidated, completely
turned off.
We ended up leaving, you know,because, you know, it was not a great
experience.
And.
And, you know, here's a guythat I would have thought, like,
you know, no problem.
I mean, he's going to go intothe art gallery, he's going to spend
a ton of money, and he's goingto, you know, be happy and.
No, no, no, no.
Even him, you know, he wasfeeling, you know, intimidated.
And so hopefully a show likeArt House will break that.
(27:50):
Will break that barrier down.
You know, two of the words Ilike to say about Art House is that,
you know, what we want to dowith Art House is humanize artists
and demystify the art worldand demystify art making, how to
buy art, and humanize artists.
Because I feel like sometimesartists are these, like, you know,
mysterious, magical, you know,creatures that, you know, people
(28:13):
maybe are intimidated by orthey don't really know, like, how
to find them or how to go andgo visit a studio.
And so a show like art house,I think will ultimately humanize
artists, demystify the artworld and empower the viewer, you
know, to say, oh, yeah, no, Icould do this, you know, like, I
can afford this.
I can, you know, go visit an artist.
Yeah, that's good.
(28:34):
Talk up a little bit aboutyour experience, you know, making
the art house pitch reel withus, I mean, and being featured in
it.
I mean, do you remember, Imean, you, you said earlier you had
a lot of fun and that wasgreat to hear, but, like, drill down
on that a little bit.
I mean, you know, it must havebeen kind of strange having a Hollywood
crew infiltrate your, yourstudio, you know, day or two.
(28:59):
What was, what was yourexperience like?
I mean, I thought it was apretty, you know, I think the crew
itself were all artists intheir own way, you know, so, you
know, each one of them,whether they're doing art direction
or they're doing the lighting,each one of them had a passionate
for, you know, had a passionfor the job.
And so that's what art is, ishaving a passion and doing something
well.
And so them being in thestudio felt very natural.
(29:21):
So, you know, we weren't justlike, we'll do this cut, we're setting
up the lights, we're like,hey, can you work in the process?
How do you normally work?
It felt very natural, youknow, in reels.
I thought, you know, again,that was an easy experience for me.
I used to doing stuff for someTV shows and like I said, having
a great production company andpeople behind it made it a lot easier.
(29:44):
And then having, you know,some amazing clients that you had
come in that wanted topurchase the painting, you know,
prior to coming in, you know,I was, that's kind of nerve wracking.
It's like, which one are theygoing to like?
You know, I knew they like mywork, but they did have different
styles.
You have, you have one, thestyle of the house, which I, you
know, I had some imagery ofwhat their house may look like, but
(30:05):
that's, you know, from a photograph.
And then, you know, they, youhave a husband and wife, she likes
these colors, he likes thesecolors, you know, So I had to make
a range of work that wasfitting for what I like to do.
But Then also having respectof like, okay, which kind of pieces
would they, you know what theywould like.
Yeah.
And it was funny becausethey're like, oh, you know, we're
going to do this piece and,and then they have send over images
(30:27):
of where it's going.
I'm like, oh, well that's a loft.
They've got like 15 foot ceilings.
We're going to have to dobigger painting than the three by
three.
It's going to have to be a big pain.
Yes.
The price just went up, people.
That's great to hear, man.
I love what you're sayingabout, you know, all these people
being artists because they are.
I mean, obviously, you know,if you're a professional, you know,
(30:47):
production person doinglighting or sound or direction or
photography or cinematographyor whatever, I mean that's, those
are real, you know, those arereal art forms, you know.
And so, yes, so people arebringing their artistry to the table
to your studio.
But part of what I lovedabout, you know, what I saw as well,
and I think you can confirmthis, which is like everybody on
(31:09):
the production team reallyfeels this project like they get
it.
Like they get Art House on adeep level.
Like they're all kind ofrooting for it, you know, because
they're artists, they'rerooting for other artists and they
would love to be involved in ashow that actually is, you know,
like has a common good.
You know, like there's like,like a bit of social benefit.
(31:31):
Right.
To, to a TV show for once.
Yeah, I mean, like I said, I,I, I think the way it was produced,
this is a real, real and thepeople part of it, this lends to
a great show.
And so yeah, they want to bepart, I want to be part of.
Who wouldn't want to be partof it?
Because it seems like that is,it was already a show.
Like this was alreadysomething that was already in production.
(31:52):
So, you know, I, right.
They all, yeah, we all wantsuccess for it because it seems like
it will be successful.
I don't, There wasn't a doubtin anyone's mind on that team that
didn't think that this was notgoing to make it a show.
Right.
Yeah, it definitely feels likethe right idea at the right time,
you know, and, and you know,better than, you.
(32:13):
Know, these home shows withnow they're all about, you know,
these married couples renovating.
It's, they've got these cookiecutter shows and it's like, okay,
it worked for, for these people.
Magnolia Homes and let's,let's everyone let's do that same
show.
And it's like that gets kindof, that gets boring.
So this is nice that it is a diversion.
It does have some home part ofit, you know, dealing with the house.
(32:37):
No husband, wife, team.
Right, right, right.
Yeah, right.
Well, you know, speaking ofhusband and wives, you know, you,
you mentioned, you know, the,the so called art buyers.
Nish, right, And Chicagocouple, we were, they were fantastic.
We were so lucky to find themand have them.
(32:57):
And you know, we talked to alot of different couples in the Chicagoland
area because, you know, thereis a casting, there's a method to
the madness, right, in termsof casting the couple or the art
buyer, obviously bringingartists into the show as well.
And also just to, you know,kind of pull the curtain back a little
bit for our listeners, I mean,what we did was we gave the couple,
(33:19):
once we found the couple thatwe wanted to work with, and there
were pros and cons.
I mean, one of the, we loved.
All the couples had reallystrong attributes.
But one of the reasons whyNish and Nishaw were, you know, were,
were perhaps the best choicewas that also they were living in
the city, you know, and itallowed us to focus production and
be more efficient.
Right.
Because they were not just agreat couple who wanted to buy art,
(33:43):
but, but they actually wereclose to your studio and close to
us.
So it helped us as a level interms of logistics that helped us
save money and time.
Time is money.
And you know, the couple ofthe other couples, they were, you
know, an hour outside the cityand you know, that would have slowed
us down.
Right.
So anyway, just a little bitof inside baseball in terms of how
some of these casting choicesare made.
(34:03):
Because it's not always justabout, you know, you know, what you
might think.
There are these other kind ofpractical things that you got to
think about.
But.
Okay, so Nisha Nashoga werechosen as the couple that we wanted
to go with.
With.
And then we gave them, we gotto know them, we could talk to them
a little bit.
And then we gave them like 10artists in Chicago to choose from.
You were one of those 10, youknow, and, and they, you know, they
(34:26):
chose you and they chose twoother artists, right, to, to, to,
you know, to look at.
And then upon even closerlook, they chose you.
And we came to your studio andwe met you and we, and you had all
these amazing artworks forthem to look at.
And they, of course, were, youknow, just incredibly compelling
works.
(34:46):
But, you know, part of thefun, part of the pitch reel is that,
you know, we don't know whatthey're going to go with right until
the very end.
But we bring them into your studio.
What was it, what was it like?
What.
You know, obviously they were,they were a great couple.
But I mean, how did you feel?
I mean you as an artist,right, you.
I'm guessing you want to feelgood about your collectors and your
clients.
(35:06):
You know, how did you feelabout Nisha Nishal when you met?
I thought they were perfectly casted.
You know, they're like peas inthe pod.
They had great personalities,good smiles, energetic, open, you
know, not, you know, just anice people demeanor and someone,
you know, a couple that would,you know, have Sherry interests,
(35:27):
similar interests.
And you could see that theycould communicate well together.
So it wasn't like, oh, I justwant this and you know, don't listen.
They, you could see that they,this was and exploration for both
of them.
And they were both very muchintrigued and you know, excited and
thought it was a blessing thatthey were able to be there.
They, you know, thought it was great.
(35:48):
I still to this day, you know, it's.
Yeah, it's been a little morethan a year.
He sent me a message like viaInstagram I think last week.
You know, that's great.
You know, that's one of mypieces of art and stuff.
So.
Yeah, but yeah, she waspregnant at the think what, eight
months.
She was, she was like eightmonths pregnant.
Yeah, yeah, yeah.
And it was so lovely to see.
(36:10):
And, and that's part of the narrative.
It's like, well, where's thisart going?
She's like, well, it's goingin the baby's room, you know, which.
The baby was also their roombecause, you know, that's what, you
know, new parents do, right?
The baby sleeps in the master.
But, but, but yes.
I mean the, what people needto understand about that sizzle reel
is that when.
Or the pitch reel that wemade, you know, is that when we walk
(36:33):
into their room, right?
You, you've, you've.
They, you know, they've chosenthe, the, the work, the, you know,
they, they.
But they've never seen it, youknow, hanging in their house.
And so we, you know, hang theart in the, in their room.
And we kept them out of theapartment for hours.
Right.
Like they couldn't see ituntil like we were ready to film.
And then when the cameras wererolling, you know, you brought them
(36:55):
into the room and I kind ofcame from behind and then, and then.
So that, that scene wherethey're looking, they, they See the
art for the first time.
That reaction is completelygenuine, completely sincere.
It's.
It's absolutely a spontaneous,true moment.
Yeah.
And they did pick, you know,from looking at their interior, they
(37:15):
picked the right piece, youknow, and it made a lot of sense
in that room.
And yeah, to see their expression.
That's what's, that's what'salways a nerve wracking thing.
You know, when clients buy mywork or commission and you know,
I, you know, I usually deliverthe pieces or I'll ship them, but
if I'm.
If it's in Chicagoland area,I'll deliver it and hang it, you
know, and it's always like,no, is this what they want?
Are they going to like it?
(37:36):
You know, kind of nervewracking like.
But it seems always work out.
So.
Thanks.
Yeah, well, they, I mean, itwas clear to everybody there that
day.
And anybody that watches this,this video, I think is.
It's very obvious that this,that the reaction that they have
is so genuine, so sincere andof the moment.
(37:57):
I mean, they, they werecompletely bl.
And moved in such a, such abeautiful way.
And you know, so what do you,I mean, as an artist, as somebody
that knows this project, youknow as well as I do at this point,
basically, I mean, speaking toother artists out there that might
be listening, I mean, what doyou think a benefit, the benefits
(38:18):
of a show like Art House wouldbe like for, for both, for artists,
but, but for, but for regular folks.
Like, what do you, what do youthink the benefits are of a show
like Art House House?
Well, Art House, it benefitsboth the art goer, the collector
and the artist because you'rebringing attention to the arts, you're
bringing attention to the process.
(38:38):
And you know, someone watchingthe show will be like, you know what?
I've always wanted a piece inmy room.
You know, that looks great.
You know, this can't.
This won't be so hard, you know.
You know, I'll ask the rightquestions, you know, maybe throughout
har.
You'll see how they interactwith the artist.
You'll see the different typesof questions they have.
Have.
And that way that it opens upthe doors to these homeowners to
(38:59):
be able to not be sointimidated when talking about art
instead of saying, oh, I don'tknow anything about.
Everyone says, oh, I don'tknow anything about art, you know,
oh, I just know what I like.
You know, if they reallydissect it and they kind of look
at it a little longer, theyprobably do know something about
art.
You know, you don't have toknow the full art history.
So I think this show, if it's,you know, like I said, from what
I see is from the scissorreel, in my experience, it will help.
(39:21):
It'll help sales, you know,help whether or not the artist is
in the show or not.
You do a show in Chicago, ifpeople watching all over in Chicago,
different states in Minnesota,oh, my God, you know, I like this,
or I see this person's art,you know, I feel confident that,
you know, this is going to work.
You know, you get people confidence.
Yeah.
And.
And I mean that you hit thenail on the head too, because, I
mean, every episode is goingto feature three artists, and we're
(39:44):
going to meet three artists onevery episode.
And, you know, whether the artbuyer in the show chooses, I mean,
they're gonna have to chooseone artist.
And whether you're.
You get chosen or not, beingon the show is going to be so positive
because you're going to get that.
You're going to get exposure,you're going to get publicity.
And ultimately, you know, myexperience, artists are.
Artists fully understand thatart is incredibly personal thing,
(40:06):
subjective thing.
And.
And they're going to be happyfor the other artists that got chosen,
you know, maybe a littledisappointed for themselves, but
that it's a win.
Right.
Because they got maybe thewhole tens of thousands, if not,
you know, hundreds ofthousands or millions of viewers
get to learn about that artistand then go to their website, go
to the Instagram account andlearn more and follow and maybe eventually
(40:27):
buy.
And so that kind of platform,that kind of exposure is really,
you know, kind of unique andrare, you know, I think so that's
the motivation, I mean, youknow, to try to give platform, you
know, to, you know, toartists, what you're.
The show is doing.
It's almost like the intentionof what most gallery owners first
(40:49):
start off at, you know.
Most, yeah.
Owners, if you get to know,that's another thing.
Again, it's intimidating.
But if you get, like mygallery in New York, it's amazing.
And if, you know, you get toknow them and get to know what they're
collecting, the gallery isthere to create their own stable
of artists.
We don't, you know, a galleryis a person, right.
Someone wants to own agallery, hey, I want to have abstract
(41:10):
art.
I want to collect, like, youknow, I want these different types
of artists.
They call it a stable.
Stable of artists.
And then they have to havesome type of.
I don't want to say theme Buta look like, you know, other artists
kind of represent a way, andthey kind of fill gaps with the different
artists.
Some are sculptors, some arepainters, some are photography, and
they group this together.
But most of the intention inthose galleries before were, you
(41:31):
know, they want to bring artto people and be able to expose them
to it.
And so this show is doing thatsame kind of concept, wanting to
bring art to people andhumanize it and try to bring it so
it's not so intimidating.
Yeah.
One of the things that kind ofgets me excited about it is that,
you know, in a world where weget a chance to, you know, make the
(41:53):
show and the show, you know,finds its audience and, you know,
we make, you know, the firstseason, what have you, you know,
the reality is we're kind ofcreating another marketplace, you
know, like, I can envision ourwebsite, you know, even being a place
where, you know, people can goand connect with the artists and
buy art, you know, directly,you know, from the artists on the
(42:15):
Art House website, you know,and, you know, you do that in a national
scale or even an international scale.
Be a nice new revenue streamfor artists.
I better stockpile my paintings.
You better get to work.
Yeah, I love it.
I love it.
Exactly.
Exactly.
Well, you know, I want to berespectful of your time.
(42:36):
I.
I know we're.
We're getting close here.
I do want to chat about acouple things before we go, though,
you know, and I mean this inall seriousness, because, you know,
I think it's an important thing.
But, you know, obviously, on acertain level, you know, you.
You are a consumer of contentlike everybody else.
I mean, you know, I know youprobably watch stuff on, you know,
(42:56):
Netflix or PBS or YouTube orwhatever, but, I mean, if you could
pick where Art House isdistributed, you know, where.
If you could.
If you could choose.
Where do you see Art Housebeing distributed?
Is it a.
Is it ideal for Netflix?
Is it ideal for PBS?
Is it ideal for YouTube?
Is it ideal for HGTV?
Like, where would you like tosee Art House end up?
(43:19):
Well, I don't know if there'sone place.
I mean, because, you know, itcould be on HTTV Network.
It could be, you know, a Netflix.
But, you know, maybe HTTVmight be more personal, you know,
because it's really gearedtowards homeowners.
Right?
Yeah.
HTV Home 5 feeling, you know,renovations, people, you know, emotions
(43:43):
and stuff like that.
Right.
Netflix is such.
More of a broad audience anddiverse and, you know, so that, you
know, so I guess more of amovie would Be htv, Magnolia Homes,
like any of that type ofproduction company, you know?
Yeah, yeah, I agree.
I mean, you know, we've been,you know, it's interesting.
(44:04):
We've been talking a lot about it.
I mean, obviously, Netflix haskind of a, you know, I mean, there's
some sex appeal there.
It's like, we're on Netflix.
But the reality is, if you'reon Netflix, you're, you know, they're
not really promoting the show.
You're part of the scroll.
You know, good luck, you know,really connecting right, to.
To the audience.
Something like hdtv, to your point.
You know, the people are goingthere to figure out how to make their
(44:28):
homes better.
Right.
And.
But also, you know, you know,people think of PBS as maybe being
old and stuffy, but, you know,at the end of the day, you know,
people trust pbs, and a showlike this could really do well on
pbs, I think.
Yeah, absolutely.
But we'll see.
See, we'll see.
We'll see.
More to come.
You know, one of the things Iwant to chat about before I let you
go, Link, and I'm just sograteful, man, that you took time
(44:50):
to sit down with me today andtalk about this.
And, you know, when you and Idid the proof of concept pitch reel
in Chicago last year, youknow, as you very well know, I stood
in as the host and for betterand worse, stood in as the host.
And, you know, at that time, Iwas happy to do it because, quite
frankly, I knew exactly what Iwanted and I knew exactly the kind
(45:12):
of tone and manner that Iwanted the show to strike.
And so I knew I could do thatand kind of, you know, provide an
example of what I was looking for.
But I, you know, Candor, neverreally wanted to be the host of the
show.
I've got a lot going on in life.
(45:33):
I'm a dad, too.
Traveling around, doing a TV show.
Not the kind of lifestyle I want.
And quite frankly, Link, andall Candor, I don't want to be famous,
man.
You know, I want to be able tolook, I don't want to.
I don't want to be world famous.
And, you know, that wouldhappen if I was the host of the show.
I mean, I'd be world famous.
I couldn't walk down the street.
Paparazzi, you know.
Yeah, exactly.
(45:54):
Paparazzi all the time.
Miserable.
I don't need that in my life.
I don't need pop to school.
You just said you don't wantthem taking photographs when you're
dropping your kids off.
Exactly.
I don't know, I'm not going todo that to my kids.
So rather than being worldfamous, I chose to, you know, find
a host that, that does want tobe world famous and wants to step
in.
And so, you know, one of thethings that we've been doing over
(46:16):
the last, you know, six, 10months is looking for the new host.
And, you know, we, I don'tknow if I shared this with you, but
we looked at three people, twowomen and one man.
They were all artists.
Carter Roy Got of Hoboken, New Jersey.
Wonderful artists andwonderful guy.
You know, we, we screen tested him.
(46:37):
You know, he was great.
You know, definitely had a lotto offer.
We talked to Japanese Americanartist Mary Lai here in Los Angeles.
Again, great artist, greathuman, had a lot of strengths and
she did great in her screen test.
And then we talked to CarmenAcosta, and Carmen is an artist,
(46:59):
creative director here in Los Angeles.
Latina woman who is kind ofwell known in art circles here in
la.
And we also screen test at herand she just killed it.
I mean, she just did aphenomenal job.
Everybody agreed to great, butshe just, you know, you know, stood
out.
And then also, interestingly,you know, she's the other, you know,
(47:20):
folks, you know, married withkids, that kind of thing.
And, and Carmen is, is freeand, you know, excited to travel
and do things.
And, and so I'm saying that tosay that we have a new host for the
show we're very excited about.
Carmen Acosta.
She's exactly the kind of, of person.
She's an expert, affable hostthat we were looking for.
(47:42):
She can speak to anybody and everybody.
She's the kind of person thatwill be able to easily go into artists
studios, talk to the artists,talk to the people, and she'll kill
that for sure.
But then she's also the kindof person that, you know, you can
imagine that we do a showsomeday with like a couple and they've
got, they've got 50 bucks,they've got a hundred bucks, you
(48:03):
know, what are they going todo, you know, and, and, you know,
Carmen's the kind of host thatthey, she could take them, you know,
to the, you know, local fleamarket or the local art fair or whatever,
and, you know, find somethingthat's really special and amazing,
you know, for, you know, 50,100 bucks, you know, so she's, she's
got that kind of.
(48:23):
And by the way, she's agraphic designer and a creative director,
so she can help people thinkabout the space that the art is going
to hang in.
And maybe you want to paintthat wall, you know, a different
color or whatever, to help theart pop, or maybe you want to frame
the piece in a certain way.
And so anyway, so we're.
We're just really stoked aboutour new host, Carmen Acosta.
(48:44):
And, And I really look forward to.
To you meeting her becausewhen we, you know, shoot the pilot,
we're coming back to Chicago,she's going to be the host, and you'll
get a chance to meet her.
So anyway, so I just wantedyou to know that unfortunately, you
know, you're not going to beable to work with me anymore.
Excellent.
Finally I don't have to workwith Scott anymore.
Yes.
(49:05):
Don't like your art direction.
Exactly.
Exactly.
Well, and, you know, as wewrap up, you know, I just want to
mention that, you know, onJune 10th, you know, we're launching
our crowdfunding campaign.
We've decided to raise themoney for the pilot through crowdfunding.
Why?
Well, because we get toactually make the show we want to
(49:27):
make.
You know, we.
You know, one of the thingsthat I've learned, you know, pitching
ideas around Hollywood is that the.
That the.
The.
The tighter your presentation,the better your chances.
You know, Hollywood doesn't dogood with just concepts and ideas.
They want to actually see thescript, they want to see the pilot,
they want to see the actualthing that you're making.
(49:48):
And money right now inHollywood is tighter than ever.
And everybody I talked to ishaving a hard time, you know, finding
money for their projects.
And, you know, and there'sthis rise of independent production,
independent producers,independent projects.
And so, you know, we thought,well, you know what?
We want to make the show.
We want to make.
We want to make the pilotthat's the most.
Represents the show.
(50:10):
Art house.
And, and we want to make it ourselves.
And that pilot will allow us,you know, we believe, to sell the
show and raise the money tomake the.
The rest of the show, thatkind of thing.
And so June 10th, we're goingto launch a crowdfunding campaign.
We're going to raise $150,000.
We've already raised 25,000,so we're looking to raise 125.
(50:30):
And the campaign will run fromJune 10th to around.
What would that be, July 5thor something?
I'll run for about 45 days.
So anyway, so get your walletand checkbook out.
You got it.
Absolutely.
Your success is my success, bythe way.
Love that attitude.
You gotta feed the fish to eat dinner.
You got.
You gotta.
(50:51):
And that's in all candor.
And that is exactly, I hope,the attitude that most artists take
with this project, that theyunderstand that that to get behind
this project means to getbehind their own success.
Because, you know, show likeArt House ultimately, we believe
would grow the market and growdemand and bring revenue into the
marketplace.
You know, a lot of peopledon't understand that the home decor
(51:12):
sector, you know, so the, thehome decor wall art sector, this
is the mass produced stuffthat people buy at Target or they
buy at Creighton Barrel orthey buy at Ikea or whatever.
That, that market, that homedecor wall art market is almost a
$7 billion category, right?
A $7 billion category.
(51:33):
And the reason people aresettling for mass produced home decor
is because they feel like theycan't afford original art or that
original art isn't for them.
And I just believe a show likeArt House could help educate and
empower people such that wecan convert 1 to 3% of that 7 billion
into the original art market.
So.
So anyway, so for artists toget behind the show, I think is a
(51:56):
smart move because ultimatelyit's good for them.
And that's why we want to do it.
We just want to help artists.
Awesome.
Well, we're gonna get there.
Thanks, Alen.
You're the best man.
Thanks so much for coming through.
Thanks for having me.
Thanks for listening to theNot Real Art podcast.
(52:16):
Please make sure to like thisepisode, write a review, and share
with your friends on Social Social.
Also remember to subscribe soyou get all of our new episodes.
Not Relart is produced by CrewWest Studios in Los Angeles.
Our theme music was created byRicky Peugeot and Desi Delauro from
the band Parlor Social.
Not Real Art is created by weedit podcasts and hosted by Captivate.
(52:38):
Thanks again for listening toNot Real Art.
We'll be back soon withanother inspiring episode celebrating
creative culture and theartists who make it.
The Not Real Art podcast isintended for creative audiences only.
The Not Real Art podcastcelebrates creativity and creative
culture worldwide.
It contains material that isfresh, fun and inspiring and is not
suitable for boring old art snobs.
Now let's get started andenjoy the show.
(00:48):
Greetings and salutations, mycreative brothers and sisters.
Welcome to Not Real Art, thepodcast where we talk to the world's
most creative people.
I am your host.
Faithful, trusty, loyal,tireless, relentless host.
Sourdough coming at you fromCrew West Studio in Los Angeles.
Man, do we have a great showfor you today.
The one and only Link Taylon,hailing from Chicago, is here in
(01:09):
the house to talk about someexciting work he's been doing lately.
Can't wait to get into this conversation.
Link's been on the showbefore, but he's got some exciting
news to talk about and I can'twait to get into this interview with
him.
But first, I want to thank youfor tuning in.
As always, we do this for youand your loyalty means the world
to us.
Of course, I want to thank ourfiscal sponsor, Arterial, Arterial.org
(01:30):
because of Arterial fiscalsponsorship of our show, you can
support the show with thefinancial donation that's tax deductible.
You can go to our website,notrelart.com or go to arterial.org
and make a donation there tohelp support the show and get that
tax benefit.
So thank you to Arturial fortheir underwriting of this.
Of course, I want to encourageyou all to, as I always do, to go
(01:50):
to the website notrealart.comand check out all the good, healthy,
nutritious stuff we got therefor you.
All kinds of amazing storiesabout artists and all art things
like remote and First Fridaysand Q and R and just all these incredible
exclusive stories and contentthat you can only get@notrealart.com
so please go check it out.
And last but not least, I wantto tell you about a very important
(02:13):
project that our company, CrewWest Studio.
Crew West Studio, the companybehind this podcast, is is embarking
upon.
We are actually in the middleof a crowdfunding campaign to raise
money to shoot our pilotepisode for Art House.
Art House is a realityunscript, the reality show about
real people meeting realartists to buy real art without breaking
(02:34):
the bank.
We are trying to raise$150,000 to get our new host, Carmen
Acosta, in front of the camerato shoot the pilot episode in Chicago.
And that's an interestingsegue into our conversation today
with Link Taylin, because Linkhas been on the show before as an
artist talking about his work,give you a little bit of, a little
bit of background on Link.
Of course, you know, Link'sbeen making art since he was a kid.
(02:57):
He's been evolving hisaesthetic for years.
In, you know, the last, youknow, 10, 15 years, he's been experimenting
with circles and spheres and,and that has led him into a really
interesting, energetic body ofwork full of light and texture and
color that creates spontaneousemotion that reflects the fluidity
(03:18):
of life.
His work and Links, he's alsoan interior a designer and an architect,
by the way.
And his work, his artwork andhis interior design work has been
featured in publications suchas Luxe Interiors and Design, Curved
Apartment Therapy, HouzzDetails, Architectural Digest, Home
and Garden.
He's been on hdtv, he's beenin Chicago Weekly, on and on and
(03:40):
on.
He's of course, showninternationally in his work as well
as well as publications.
So Link is world class, nodoubt, and his connection to Art
House is interesting.
So a year ago we wanted to doa proof of concept for our Art House
project.
So we flew to Chicago andyours truly stood in as the host
(04:01):
for the proof of concept.
And Link Tailin was one of thethree artists that we looked at and
the client looked at Nisha,Nishal, the, the, the young couple
looking to buy art.
And they looked at threedifferent artists and Michelle Richardson
Albinos was one of theartists, Liz Flores was the other
artist and Link Taylin was thethird artist.
And they ended up choosing Link.
(04:21):
They and their budget wasabout $5,000 and they were able to
work with Link and find apainting that fit their budget and
was placed in their home.
And it was a wonderful,wonderful experience for everybody
involved.
Link enjoyed himself.
Nisha, Nishal enjoyed themselves.
I enjoyed myself.
And it was just such awonderful kind of part of the journey.
(04:41):
As we're now ramping up to ourcrowdfunding campaign to shoot a
proper 30 minute pilot, we'regoing to go back to Chicago to do
that with our new host, theone and only Carmen Acosta, who's
been cast.
So we're very exc.
And Link came back on the showtoday to talk about his experience
working with Art House, whathe thinks a show like Art House means
for artists like him and forregular folks out there in the world
(05:04):
shopping on a budget andwanting to live with real art in
their lives.
So this conversation forLincoln, I was a lot of fun because
we're able to kind of go back.
Of course, Link and I have aLong history together.
So without further ado, let'sget into this.
But before we do, of course Iwant to encourage you to please,
please, please considerdonating to the art house crowdfunding
campaign.
We're trying to raise 150,000 DOL.
(05:25):
And your donations are taxdeductible because arturial is the
fiscal sponsor for the arthouse project as well.
So every dollar donated to theproject is tax deductible.
And of course, we haveincredible perks and rewards and
incentives as well that youmight want to choose from.
So please consider helping usachieve our goal of making this pilot
because it's going to be agame changer for how people learn
(05:47):
about artists and art and agame changer for artists in terms
of getting more eyes on their work.
So we're very excited about this.
Please, please, please help usreach our goal and tell all of your
to.
So without further ado, let'sget into this conversation I had
now with the one and only Link Taylon.
(06:12):
Link Taylon, welcome to the show.
Thank you.
Thank you.
Scott Power.
Thank you for having me, man.
It's.
It's always a pleasure, youcoming through.
You and I, we go back a few years.
I've had the privilege ofwatching your art career blossom
from being an art studentbecause, yes, we go back that far,
basically.
Let's just say, let's see howfar it is.
Like maybe three decades.
(06:32):
I was just thinking about it today.
I'm like, it's about threedecades now.
Three decades, dude, how didthat happen?
I turned 55 the other day, man.
I mean, you know, like, howdid that happen?
Yeah, I don't look a day over 54.
So, yeah, craziness.
And it's been such a Cool.
As your friend, you know.
You know, it's been so awesometo see your career blossom because
(06:54):
you've always been so focusedand disciplined and bringing that
midwestern work ethic, letalone your intelligence, to your
arts practice.
And your career has just blownup over the last 30 years, and it's
just been a pleasure to watch.
Thank you.
And it's.
Yeah, one of our first outings.
I remember going to your placeand you had some graffiti artists,
(07:15):
like, completely, like, paintthe entire hallway wall in your place.
And I was like, what is thisguy doing?
What the hell is that?
It was cool because, you know,I was more into traditional painter
at that time.
But, you know, so we alwayshad a connection with.
With the arts at a very earlystage of our friendships.
(07:36):
Yes, we did.
And by the way, by the way.
True story about thatparticular artist and that painting,
like, I'm pretty sure that heshowed up drunk.
The execution was a little.
Not what I was expecting, butit was.
It was cool.
To have art is.
Is so important, right, tohave in the home, you know, and I
think of art as soul food.
(07:56):
You know, I mean, I think thatthere's like a narrative, you know,
people, you know, certainly anarrative if you're of a certain
tax bracket or whatever.
People are buying art as.
As economic assets as a way of.
Of.
Of.
Of avoiding taxes or.
Or putting their millions ofdollars into pieces.
And that's a whole nother world.
Right?
But.
(08:16):
But you and I come from aworld where your pieces aren't inexpensive
now.
I mean, your career has.
Has blown up in such that nowthousands of dollars, if not up to
15,000 or more.
So you're doing very well.
But.
But generally speaking, youand I both know, right, that art
is a horrible investment financially.
You know, it's about soulfood, right?
(08:37):
I mean, we want people to haveyour art and artwork in their homes
because it makes them feelsomething, right.
That it moves them in some way.
Absolutely.
And I think, you know, overthis last decade is, you know, my
work is really connected with,I think, a mainstream audience, and
that's why it's done so well.
And a lot of families have it.
(08:58):
I have.
I have clients that have.
Buying paintings for theirkids and, you know, their grandkids
and stuff like that.
And, you know, they.
It brings joy to them, which,you know, it's.
That's why I'm doing it.
You know, it's not just thatthey have joy.
It's just that we have aconnection, you know, and it comes
across into the canvas andthey're able to experience that.
(09:18):
So it's.
It's a joyful time for sure.
And, you know, and what I loveabout what you just shared is that
it becomes like a family heirloom.
Right?
I mean, the fact that, that,you know, because I have a couple
of your pieces as, you know,and I know my kids, you know, are
going to remember they'regoing to inherit your work and they're
going to have it in theirhomes and they're going to remember
me and their mom and theirhome because they're going to connect
(09:42):
visually to your artwork.
They're going to remember you,obviously, as a.
As your artwork.
And so whether artworksappreciate, you know, an economic
value, they certainlyappreciate an emotional value.
And.
And that emotional connectionand becoming family heirlooms, for
example, and.
And I just.
I just love that.
And.
And, you know, it's just beenso cool to see that people resonate
(10:05):
with your work, because, youknow, one of the things that I love
about your work is that there it.
Your.
Your pieces exude energy and.
And create an atmosphere, anddepending on your color palette or
maybe who you're commissionedby, what have you exude a joyful
energy.
They can exude a more of amasculine energy, you know, so it's.
(10:28):
I love your work because, youknow, I know in my room, you know,
we have one of your pieces above.
Above our bed, and it's so soothing.
You know, it.
It.
It's a beautiful thing to goto, wake up to and, of course, you
know, go to sleep, too.
Yeah, yeah, yeah, yeah.
Not that, you know, your workputs people to sleep, but, you know
what I mean?
We try to create.
So people ask, hey, when's thepainting finished?
And that's, you know, try tomake it calm.
(10:49):
You know, at the end, that hassome resolution, like, there's some
conflict inside the paintingon the canvas, but you see it being
resolved, and that's throughcolors, tones, and composition.
And at the end, it lendsitself to people that create their
own imagination to get to thatplace of relaxation.
And absolutely, like, that'swhat I try to achieve in the work.
(11:11):
And just like you said, youknow, some are masculine, so I do
attempt to try differentthings with the colors.
Some are darker tones, masculine.
Some are pinks and lights and greens.
So it's really experimentingwith all those tastes because it's
like a movie, you know, youwant that.
Different characters, and sothese canvases are different characters.
For sure.
(11:31):
For sure.
And, you know, we're heretoday to talk about your, you know,
support of a project that I'vebeen developing and the collaboration
that you and I made togetherlast year on this project, this project
called Art House, about realpeople meeting real artists to buy
real art without breaking the bank.
And we'll.
We'll talk a little bit moreabout that, actually.
(11:52):
We'll talk a lot about it in.
In just a few seconds.
But before we get into that, Iwant to check in with you, though,
and.
And ask how the heck thingsare going.
I mean, you're in Chicago.
You're busy as heck, as far asI can tell.
Of course, you're also married with.
With amazing children in yourlives, in your life, and.
And.
And you're a busy man.
Say nothing of your, you know,your hockey career.
(12:13):
You know, a lot going on.
But what.
What is happening in the artmarket in Chicago.
How are things going for youthese days?
Things are good.
I mean, the.
The art market, I think sincelike, say 20, 22, 23 isn't as hot,
I don't think, as.
As it is now.
It's still steady.
I have a lot of patrons, andluckily, luckily, I worked really
(12:36):
hard at diversifying my workto be nationally and internationally.
So I'm not just working in thepocket I live in.
So I didn't.
Like, I'm going to be in onegallery in Chicago, and I'm going
to put all my focus here.
I made sure that.
To diversify it in different markets.
So I'm in.
I sell in California quite a bit.
(12:57):
I'm in Florida, London, Parisand New York gallery.
And then I work with a bunchof art consultants that are in Dallas,
Chicago.
And that's.
That's really helped with themainstream of like, continuing sales,
really.
But, you know, with art, itdoesn't matter, like, yet.
It's been very successful interms of where I'm at now.
Every.
(13:17):
Every new, you know, season islike a new challenge.
So it's like starting over.
You know, you want to keep onrecreating yourself and not creating
the same type of work.
You want to keep living.
And so you got to keep exploring.
And so it's, you know, it'salways, you know, it's still a challenge.
Well, and by the way, youmentioning that totally reminds me
of the fact that again, we'veknown each other so long.
I remember when you gotfixated on studying circles and spheres
(13:43):
and, you know, and then in howthat kind of exercise and that that
study eventually evolved overyears into the work that you're making
today.
I mean, I can see that studyfrom 20 years ago now almost or 15
years ago in your work today.
It's such a.
Interesting and kind ofwonderful evolution.
Funny.
Bring that up that in like,2012, which I.
(14:06):
I know it's 2012 because theclient emailed me a few months ago
and says, hey, I have one ofyour paintings, but can you make
a pear painting for a pair?
You know, another paintingthat can go side by side with it?
And I'm like, God, I'm like,looking back in the emails, I'm like,
I remember you buying a piece,but I'm like, God, that was so long
ago.
Can I even, like, recreate something?
(14:26):
You know, because it was anera, you know, so, like, I'm like,
I'm gonna have to make acouple of them for you.
But then it's funny, I Had agreat time.
I said, can I have the oldpainting so I can look at it and
kind of go off of that oneand, you know, interpret my new process?
And then we didn't discuss money.
And then when I went todeliver a painting, I'm like, I hope,
(14:47):
you know, my prices havejumped quite.
We bought this painting.
Inflation.
It's been a long time.
I'm like, you know, I probablygave you pretty cheap.
So 15 years ago, I feel, I.
Like, feel bad, but I want tomake sure I could make the painting
first before saying, like, avalue to it.
(15:08):
So that's one thing.
Like, commission wise, I don'tlike taking deposits.
I don't, like, have any constraints.
The work has to be real andthat experience has to be real for
it to, you know, convey on thecanvas that way.
So, you know, like a lot ofours, they don't want to charge anything,
but, you know.
Right, right.
(15:28):
So that's hilarious.
That's, that's, that's great.
Well, keep us posted on that.
Did they.
Do they get sticker shock or not?
Oh, my God.
No, she actually gave me a tipbecause she's like, you know, because
I still gave her a deal.
She's like, no, you know, I'mlike, I've been following you.
I know.
So she, you know, she.
Okay, good, good tip on it.
So here, if she divides it bytwo, it's still, she's still coming
(15:49):
in at a bargain, know?
Yeah.
So that's, that's great.
Well, look, I mean, that'sgreat to hear, man.
And, and, and that's one ofthe things that I've always appreciated
about you, is that you'vealways worked to be as strategic
and as well strategic aspossible and as smart and intelligent
as possible about, you know,you know, how you, you know, not
(16:09):
just how you make work or whathave you, but, but just where, you
know, your evolution andstaying challenged and creating new
work and growing yourcollector base and growing your market
and, and that's, that's, youknow, you know, quite frankly.
Right.
That's kind of rare in a lotof artists to have that kind of,
you know, discipline andacumen, you know, So I think you'll
(16:30):
learn a lot from the otherartists listening.
Call Link.
He'll tip.
Pro tips from Link.
Well, you know, you know, eventhose really successful companies
like a Coca Cola, you know,they advertise.
Why are they spending all this money?
They.
Aren't they already a bigenough company?
No.
You have to pound the pavement.
I don't care how yes, well,you've done.
And you can't put all youreggs in one basket.
(16:51):
You have to diversify and youkind of have to be at level, keel
level because, you know, upsand downs, you have to be able to
work through that, you know,you can't.
Those highs and lows, you gotto kind of keep it at even keel so
it's steady, you know that.
Right, right.
And you can't expect like somegreat things happen.
And you know, I remember beingin the magazine, being published
(17:12):
and first time, and I'm like,I'm going to get so much work out
of this.
Just doing a huge write up.
And you know, it was yearslater, probably even four or five
years later, I had someonecome to the studio.
It's like I had a clip out ofthis magazine, I've been saving it
and I want to buy one of your pieces.
But you know, there it is fouror five years later and that piece
that was in that magazine, itfinally like it took that many years
and I got probably three orfour commissions off of it, but it
(17:34):
wasn't right away.
So you can't expect, you know,instantaneous, you know.
Yeah, play the long game,people play the long game, that's
for sure.
That's right.
Well, so speaking of marketingand promotion, I mean, that's kind
of a really good segueactually into what I wanted to talk
about with you today, which isArt House.
And Art House is for thosepeople listening that may not know.
(17:57):
Art House is an unscriptedtelevision show series that, that
we've been developing and wewant to make.
And Art House is about realpeople meeting real artists to buy
real art without breaking the bank.
And you and I both know thatthere is a ton of artists, a ton
of art out there that, youknow, price anywhere from as low
as $100 up to $5,000 or $10,000.
(18:21):
There's so much art out therepriced below these numbers that most
people can afford out there.
And you know, but a lot oftimes people are maybe confused or
intimidated or don't really know.
You know, they might, they maynot want to go into an art gallery
because they feel intimidatedor they feel like they can't afford
art.
They may not know they can gostraight, maybe reach out to an artist
(18:44):
and visit an artist studio andbuy directly from an artist.
And that's kind of on the whatwe'll call the market side or the
demand side.
And on the so called supplyside, artists, I mean, artists generally
don't get a platform to atthe, to promote and market their
work at scale.
And so a lot of times artistsare struggling to make ends meet
(19:04):
locally or regionally or maybethey have a website and they're trying
to sell to people around the world.
But it's hard, it's a struggle.
I mean, with any business orproduct, you know, marketing sales
and converting, you know,prospects into sales.
I mean, it's, it's a, it's adifficult proposition.
And artists generally justwant to make art, right?
And historically they'verelied on their gallery or their
(19:25):
dealer or what have you tohelp tell their stories and promote
their work and sell their work.
And that's great.
But in our view, in my view,you know, the kind of existing art
gallery model is just onebusiness model that unfortunately
doesn't really serve 99 pointpercent of artists out there.
You know, and so there's thishuge number of artists, hundreds
(19:46):
of thousands of artists inAmerica that, that, you know, need
support in terms of gettingtheir stories out there, promoting
their work.
So personally, it was duringthe pandemic I saw, you know, Netflix.
I was, you know, likeeverybody else watching every show
on Netflix and a show calledChef's Table came on and I just loved
that show because it was sobeautiful to watch, but it really
(20:11):
focused on a chef and itfocused on that chef and how they
think about food and feedingpeople and how they make their dishes
and all these things.
They might grow their owningredients, you know, farm to table
stuff.
I mean, it was just, and itwas just this beautiful show.
And I thought, man, you know,like, like what an interesting way
to maybe even promote visual art.
(20:34):
And wouldn't it be cool to gointo an artist studio and learn about
art making and learn aboutthat artist, so on and so forth.
And of course the show Chef'sTable on Netflix, I mean, they spent
millions and millions ofdollars on that production.
It looks great, you can see it.
But I was thinking, well, ifwe really want to do a show that's
democratic and helps todemocratize art and really helps
(20:55):
to promote artists and art atscale, and we can help like real
people learn about art and artmaking, well then we need to maybe
think about a show that couldbe on HGTV or PBS or some other,
you know, maybe YouTube orjust some other platform, maybe Netflix
too, you know, whatever.
But this idea of like, okay,how do you take a show like Chef's
(21:15):
Table and, and, and that someDNA from Chef's Table and how do
you take some DNA from a showlike House Hunters and combine them
and come up with somethingthat would benefit artists, working
artists in America, as well asbenefit Americans who are curious
and want to learn about artand buying art.
And so, you know, it wasn't long.
I came up with this idea forArt House.
(21:37):
And again, Art House at itscore is about real people meeting
real artists to buy real artwithout breaking the bank.
And so when I got the idea, Istarted talking to some people and
they really resonated with them.
And I was able to put aproduction team together of veterans
from Hollywood who have beenmaking HDTV shows like House Hunters
(21:58):
and Designer's Challenge.
And we decided that we wantedto do a kind of a proof of concept
kind of pitch reel, the short,you know, five, six minute thing.
And we wanted to come to Chicago.
We were, we were.
We were, you know, we wantedto do it there.
You know, people were asking,well, you know, you know, who do
we know in Chicago?
(22:19):
I was like, link tail.
And we know Link Taylor.
We got it.
We got to reach out to him.
And I was a little nervouscalling you because you know me very
well.
I figured you'd tell me tofuck off because you know me so well,
but you didn't.
You had.
You had mercy on your old paland you decided to throw in with
(22:39):
us and.
And you were the featuredartist in our.
In our little proof of concept video.
And, man, I, you know, I justwant to thank you for being a part
of that.
Oh, no, thank you for evenconsidering me to be part of it,
since we are friends.
But, you know, to work withthe people that you put together,
the production company and,you know, the homeowners, is, you
(23:01):
know, it was a greatexperience for everyone.
I mean, we had great.
We had a blast, you know, andit is.
It is good to be able to sharethe techniques and spend time in
the studio and have, again,homeowners come in there that probably
would have never had a chanceto come to the studio or, you know,
wouldn't know who to call.
And like I said, you hit thenail on the head.
It's, you know, it'sintimidating going to the galleries.
(23:22):
You know, I'm intimidated, youknow, feel like, yeah, I like to
even look at the work.
I'm not there to buy this.
Can I even be in there?
You know, you know, so it'slike, oh, it's too expensive.
It's an unsettling feeling.
You should be able to walkinto a gallery and feel at home.
But it, for me, it.
It's somewhat cold sometimes,you know, and like I said, it's intimidating
(23:46):
because typically thegalleries, and again, not nothing
against the galleries, youknow, but it's usually someone at
the desk and they're just kindof looking at you.
You know, it's.
It could be the same for them.
Meaning, like, it's a littleawkward at first or, you know, because
you don't want to be pushy.
You want to give people space.
So I think, you know, youcoming up with gets rid of that,
that, you know, that it allowspeople to engage with the art and
(24:09):
different artists and see theprocess, you know, to them have a
better understanding.
And that's what, you know, Art House.
Has done well, for sure, and Iappreciate that.
And, and it's so true.
I mean, it's so interesting, right?
I mean, here you are anartist, very successful artist, you
know, generally speaking.
And, and, you know, only, youknow, working, continuing to work
(24:30):
hard, continuing to get yourwork out there in the world.
And, and even you are, youknow, turned off a little bit or
int when you go into a gallery.
And I, by the way, I've talkedto a lot of artists that feel that
way.
Right?
Isn't that interesting?
You know, and, and how can a show.
What can I do?
What can we do?
What can my company do?
Crew West Studio todemocratize art.
(24:50):
And that phrase, democratizeart, that, you know, that means,
you know, that's rooted inthis idea that art is for everyone.
You know, art shouldn't bejust some exclusive elitist thing.
And by the way, that's bad forartists because artists are trying
to earn a living.
And, you know, and mostartists that I talk to want people
to buy the art because theylove it and want to see it every
day and it makes them feel something.
So, like, that is, I think,the ethos of a show like Art House
(25:13):
to try to, you know, connect,you know, the, the, the artist with
the, with the, the potentialbuyer and, and help educate and inspire
and empower.
And I think that's what ArtHouse is all about.
And so this pitch reel we puttogether with you is, you know, just
a taste of that in terms of,like, what the show is.
I mean, the show will, a fullepisode will be like 30 minutes.
(25:36):
But, but, you know, our littlesegment was like six, six when I
called you that day.
So, I mean, shit, that was,you know, year and a half ago now,
probably maybe two years ago,I called you to tell you about Art
House.
Do you remember sort of whatyou were thinking or what you thought
about when you heard about the concept?
I thought it was A coolconcept, you know, and after you
brought up the Farm to Table,that TV show, you know, immediately
(26:01):
went on there, and I reallygot what you were talking about,
and, you know, you got toreally know the.
The chef and the person.
And a common theme in thatshow is just you could see the love
that each chef had.
And, you know, througheverything, it's not about just eating
the food, it's how hepresented it, how he sourced it and
(26:23):
all that.
And so that's the same withthe painting.
It's not just looking at the painting.
It's getting to know theartist, you know, getting to know
the ingredients, like whatmakes the art art, art.
So I thought it was, you know,a brilliant idea.
And it's.
It's hard to combine that.
How can you create a showabout art that's.
That could connect differentaudiences and stuff like that.
So come up with an idea aboutgoing into different cities, different
(26:45):
types of artists, differenttypes of clients with homes, you
know, and having them selectfrom a group of artists.
It's a great idea.
And I think a lot of people,you know, I think it will resonate
with a lot of people.
It'll be interesting to see,you know, some of the.
Some of the stuff that you cancreate, you know, for sure.
And it's.
And it.
It's interesting.
I was talking to somebody theother day who.
(27:07):
Very successful guy, very successful.
And you would think that, youknow, he would be very comfortable
going into art galleries andbuying art.
And he was telling me he was,you know, he heard about Art House
and he said, man, he goes, Ican't wait to see the show.
I would love the show.
He's like, my wife and I wentto, you know, into these art galleries
over the weekend because we'reinterested in getting art.
And.
(27:27):
And he said we were completelyturned, you know, intimidated, completely
turned off.
We ended up leaving, you know,because, you know, it was not a great
experience.
And.
And, you know, here's a guythat I would have thought, like,
you know, no problem.
I mean, he's going to go intothe art gallery, he's going to spend
a ton of money, and he's goingto, you know, be happy and.
No, no, no, no.
Even him, you know, he wasfeeling, you know, intimidated.
And so hopefully a show likeArt House will break that.
(27:50):
Will break that barrier down.
You know, two of the words Ilike to say about Art House is that,
you know, what we want to dowith Art House is humanize artists
and demystify the art worldand demystify art making, how to
buy art, and humanize artists.
Because I feel like sometimesartists are these, like, you know,
mysterious, magical, you know,creatures that, you know, people
(28:13):
maybe are intimidated by orthey don't really know, like, how
to find them or how to go andgo visit a studio.
And so a show like art house,I think will ultimately humanize
artists, demystify the artworld and empower the viewer, you
know, to say, oh, yeah, no, Icould do this, you know, like, I
can afford this.
I can, you know, go visit an artist.
Yeah, that's good.
(28:34):
Talk up a little bit aboutyour experience, you know, making
the art house pitch reel withus, I mean, and being featured in
it.
I mean, do you remember, Imean, you, you said earlier you had
a lot of fun and that wasgreat to hear, but, like, drill down
on that a little bit.
I mean, you know, it must havebeen kind of strange having a Hollywood
crew infiltrate your, yourstudio, you know, day or two.
(28:59):
What was, what was yourexperience like?
I mean, I thought it was apretty, you know, I think the crew
itself were all artists intheir own way, you know, so, you
know, each one of them,whether they're doing art direction
or they're doing the lighting,each one of them had a passionate
for, you know, had a passionfor the job.
And so that's what art is, ishaving a passion and doing something
well.
And so them being in thestudio felt very natural.
(29:21):
So, you know, we weren't justlike, we'll do this cut, we're setting
up the lights, we're like,hey, can you work in the process?
How do you normally work?
It felt very natural, youknow, in reels.
I thought, you know, again,that was an easy experience for me.
I used to doing stuff for someTV shows and like I said, having
a great production company andpeople behind it made it a lot easier.
(29:44):
And then having, you know,some amazing clients that you had
come in that wanted topurchase the painting, you know,
prior to coming in, you know,I was, that's kind of nerve wracking.
It's like, which one are theygoing to like?
You know, I knew they like mywork, but they did have different
styles.
You have, you have one, thestyle of the house, which I, you
know, I had some imagery ofwhat their house may look like, but
(30:05):
that's, you know, from a photograph.
And then, you know, they, youhave a husband and wife, she likes
these colors, he likes thesecolors, you know, So I had to make
a range of work that wasfitting for what I like to do.
But Then also having respectof like, okay, which kind of pieces
would they, you know what theywould like.
Yeah.
And it was funny becausethey're like, oh, you know, we're
going to do this piece and,and then they have send over images
(30:27):
of where it's going.
I'm like, oh, well that's a loft.
They've got like 15 foot ceilings.
We're going to have to dobigger painting than the three by
three.
It's going to have to be a big pain.
Yes.
The price just went up, people.
That's great to hear, man.
I love what you're sayingabout, you know, all these people
being artists because they are.
I mean, obviously, you know,if you're a professional, you know,
(30:47):
production person doinglighting or sound or direction or
photography or cinematographyor whatever, I mean that's, those
are real, you know, those arereal art forms, you know.
And so, yes, so people arebringing their artistry to the table
to your studio.
But part of what I lovedabout, you know, what I saw as well,
and I think you can confirmthis, which is like everybody on
(31:09):
the production team reallyfeels this project like they get
it.
Like they get Art House on adeep level.
Like they're all kind ofrooting for it, you know, because
they're artists, they'rerooting for other artists and they
would love to be involved in ashow that actually is, you know,
like has a common good.
You know, like there's like,like a bit of social benefit.
(31:31):
Right.
To, to a TV show for once.
Yeah, I mean, like I said, I,I, I think the way it was produced,
this is a real, real and thepeople part of it, this lends to
a great show.
And so yeah, they want to bepart, I want to be part of.
Who wouldn't want to be partof it?
Because it seems like that is,it was already a show.
Like this was alreadysomething that was already in production.
(31:52):
So, you know, I, right.
They all, yeah, we all wantsuccess for it because it seems like
it will be successful.
I don't, There wasn't a doubtin anyone's mind on that team that
didn't think that this was notgoing to make it a show.
Right.
Yeah, it definitely feels likethe right idea at the right time,
you know, and, and you know,better than, you.
(32:13):
Know, these home shows withnow they're all about, you know,
these married couples renovating.
It's, they've got these cookiecutter shows and it's like, okay,
it worked for, for these people.
Magnolia Homes and let's,let's everyone let's do that same
show.
And it's like that gets kindof, that gets boring.
So this is nice that it is a diversion.
It does have some home part ofit, you know, dealing with the house.
(32:37):
No husband, wife, team.
Right, right, right.
Yeah, right.
Well, you know, speaking ofhusband and wives, you know, you,
you mentioned, you know, the,the so called art buyers.
Nish, right, And Chicagocouple, we were, they were fantastic.
We were so lucky to find themand have them.
(32:57):
And you know, we talked to alot of different couples in the Chicagoland
area because, you know, thereis a casting, there's a method to
the madness, right, in termsof casting the couple or the art
buyer, obviously bringingartists into the show as well.
And also just to, you know,kind of pull the curtain back a little
bit for our listeners, I mean,what we did was we gave the couple,
(33:19):
once we found the couple thatwe wanted to work with, and there
were pros and cons.
I mean, one of the, we loved.
All the couples had reallystrong attributes.
But one of the reasons whyNish and Nishaw were, you know, were,
were perhaps the best choicewas that also they were living in
the city, you know, and itallowed us to focus production and
be more efficient.
Right.
Because they were not just agreat couple who wanted to buy art,
(33:43):
but, but they actually wereclose to your studio and close to
us.
So it helped us as a level interms of logistics that helped us
save money and time.
Time is money.
And you know, the couple ofthe other couples, they were, you
know, an hour outside the cityand you know, that would have slowed
us down.
Right.
So anyway, just a little bitof inside baseball in terms of how
some of these casting choicesare made.
(34:03):
Because it's not always justabout, you know, you know, what you
might think.
There are these other kind ofpractical things that you got to
think about.
But.
Okay, so Nisha Nashoga werechosen as the couple that we wanted
to go with.
With.
And then we gave them, we gotto know them, we could talk to them
a little bit.
And then we gave them like 10artists in Chicago to choose from.
You were one of those 10, youknow, and, and they, you know, they
(34:26):
chose you and they chose twoother artists, right, to, to, to,
you know, to look at.
And then upon even closerlook, they chose you.
And we came to your studio andwe met you and we, and you had all
these amazing artworks forthem to look at.
And they, of course, were, youknow, just incredibly compelling
works.
(34:46):
But, you know, part of thefun, part of the pitch reel is that,
you know, we don't know whatthey're going to go with right until
the very end.
But we bring them into your studio.
What was it, what was it like?
What.
You know, obviously they were,they were a great couple.
But I mean, how did you feel?
I mean you as an artist,right, you.
I'm guessing you want to feelgood about your collectors and your
clients.
(35:06):
You know, how did you feelabout Nisha Nishal when you met?
I thought they were perfectly casted.
You know, they're like peas inthe pod.
They had great personalities,good smiles, energetic, open, you
know, not, you know, just anice people demeanor and someone,
you know, a couple that would,you know, have Sherry interests,
(35:27):
similar interests.
And you could see that theycould communicate well together.
So it wasn't like, oh, I justwant this and you know, don't listen.
They, you could see that they,this was and exploration for both
of them.
And they were both very muchintrigued and you know, excited and
thought it was a blessing thatthey were able to be there.
They, you know, thought it was great.
(35:48):
I still to this day, you know, it's.
Yeah, it's been a little morethan a year.
He sent me a message like viaInstagram I think last week.
You know, that's great.
You know, that's one of mypieces of art and stuff.
So.
Yeah, but yeah, she waspregnant at the think what, eight
months.
She was, she was like eightmonths pregnant.
Yeah, yeah, yeah.
And it was so lovely to see.
(36:10):
And, and that's part of the narrative.
It's like, well, where's thisart going?
She's like, well, it's goingin the baby's room, you know, which.
The baby was also their roombecause, you know, that's what, you
know, new parents do, right?
The baby sleeps in the master.
But, but, but yes.
I mean the, what people needto understand about that sizzle reel
is that when.
Or the pitch reel that wemade, you know, is that when we walk
(36:33):
into their room, right?
You, you've, you've.
They, you know, they've chosenthe, the, the work, the, you know,
they, they.
But they've never seen it, youknow, hanging in their house.
And so we, you know, hang theart in the, in their room.
And we kept them out of theapartment for hours.
Right.
Like they couldn't see ituntil like we were ready to film.
And then when the cameras wererolling, you know, you brought them
(36:55):
into the room and I kind ofcame from behind and then, and then.
So that, that scene wherethey're looking, they, they See the
art for the first time.
That reaction is completelygenuine, completely sincere.
It's.
It's absolutely a spontaneous,true moment.
Yeah.
And they did pick, you know,from looking at their interior, they
(37:15):
picked the right piece, youknow, and it made a lot of sense
in that room.
And yeah, to see their expression.
That's what's, that's what'salways a nerve wracking thing.
You know, when clients buy mywork or commission and you know,
I, you know, I usually deliverthe pieces or I'll ship them, but
if I'm.
If it's in Chicagoland area,I'll deliver it and hang it, you
know, and it's always like,no, is this what they want?
Are they going to like it?
(37:36):
You know, kind of nervewracking like.
But it seems always work out.
So.
Thanks.
Yeah, well, they, I mean, itwas clear to everybody there that
day.
And anybody that watches this,this video, I think is.
It's very obvious that this,that the reaction that they have
is so genuine, so sincere andof the moment.
(37:57):
I mean, they, they werecompletely bl.
And moved in such a, such abeautiful way.
And you know, so what do you,I mean, as an artist, as somebody
that knows this project, youknow as well as I do at this point,
basically, I mean, speaking toother artists out there that might
be listening, I mean, what doyou think a benefit, the benefits
(38:18):
of a show like Art House wouldbe like for, for both, for artists,
but, but for, but for regular folks.
Like, what do you, what do youthink the benefits are of a show
like Art House House?
Well, Art House, it benefitsboth the art goer, the collector
and the artist because you'rebringing attention to the arts, you're
bringing attention to the process.
(38:38):
And you know, someone watchingthe show will be like, you know what?
I've always wanted a piece inmy room.
You know, that looks great.
You know, this can't.
This won't be so hard, you know.
You know, I'll ask the rightquestions, you know, maybe throughout
har.
You'll see how they interactwith the artist.
You'll see the different typesof questions they have.
Have.
And that way that it opens upthe doors to these homeowners to
(38:59):
be able to not be sointimidated when talking about art
instead of saying, oh, I don'tknow anything about.
Everyone says, oh, I don'tknow anything about art, you know,
oh, I just know what I like.
You know, if they reallydissect it and they kind of look
at it a little longer, theyprobably do know something about
art.
You know, you don't have toknow the full art history.
So I think this show, if it's,you know, like I said, from what
I see is from the scissorreel, in my experience, it will help.
(39:21):
It'll help sales, you know,help whether or not the artist is
in the show or not.
You do a show in Chicago, ifpeople watching all over in Chicago,
different states in Minnesota,oh, my God, you know, I like this,
or I see this person's art,you know, I feel confident that,
you know, this is going to work.
You know, you get people confidence.
Yeah.
And.
And I mean that you hit thenail on the head too, because, I
mean, every episode is goingto feature three artists, and we're
(39:44):
going to meet three artists onevery episode.
And, you know, whether the artbuyer in the show chooses, I mean,
they're gonna have to chooseone artist.
And whether you're.
You get chosen or not, beingon the show is going to be so positive
because you're going to get that.
You're going to get exposure,you're going to get publicity.
And ultimately, you know, myexperience, artists are.
Artists fully understand thatart is incredibly personal thing,
(40:06):
subjective thing.
And.
And they're going to be happyfor the other artists that got chosen,
you know, maybe a littledisappointed for themselves, but
that it's a win.
Right.
Because they got maybe thewhole tens of thousands, if not,
you know, hundreds ofthousands or millions of viewers
get to learn about that artistand then go to their website, go
to the Instagram account andlearn more and follow and maybe eventually
(40:27):
buy.
And so that kind of platform,that kind of exposure is really,
you know, kind of unique andrare, you know, I think so that's
the motivation, I mean, youknow, to try to give platform, you
know, to, you know, toartists, what you're.
The show is doing.
It's almost like the intentionof what most gallery owners first
(40:49):
start off at, you know.
Most, yeah.
Owners, if you get to know,that's another thing.
Again, it's intimidating.
But if you get, like mygallery in New York, it's amazing.
And if, you know, you get toknow them and get to know what they're
collecting, the gallery isthere to create their own stable
of artists.
We don't, you know, a galleryis a person, right.
Someone wants to own agallery, hey, I want to have abstract
(41:10):
art.
I want to collect, like, youknow, I want these different types
of artists.
They call it a stable.
Stable of artists.
And then they have to havesome type of.
I don't want to say theme Buta look like, you know, other artists
kind of represent a way, andthey kind of fill gaps with the different
artists.
Some are sculptors, some arepainters, some are photography, and
they group this together.
But most of the intention inthose galleries before were, you
(41:31):
know, they want to bring artto people and be able to expose them
to it.
And so this show is doing thatsame kind of concept, wanting to
bring art to people andhumanize it and try to bring it so
it's not so intimidating.
Yeah.
One of the things that kind ofgets me excited about it is that,
you know, in a world where weget a chance to, you know, make the
(41:53):
show and the show, you know,finds its audience and, you know,
we make, you know, the firstseason, what have you, you know,
the reality is we're kind ofcreating another marketplace, you
know, like, I can envision ourwebsite, you know, even being a place
where, you know, people can goand connect with the artists and
buy art, you know, directly,you know, from the artists on the
(42:15):
Art House website, you know,and, you know, you do that in a national
scale or even an international scale.
Be a nice new revenue streamfor artists.
I better stockpile my paintings.
You better get to work.
Yeah, I love it.
I love it.
Exactly.
Exactly.
Well, you know, I want to berespectful of your time.
(42:36):
I.
I know we're.
We're getting close here.
I do want to chat about acouple things before we go, though,
you know, and I mean this inall seriousness, because, you know,
I think it's an important thing.
But, you know, obviously, on acertain level, you know, you.
You are a consumer of contentlike everybody else.
I mean, you know, I know youprobably watch stuff on, you know,
(42:56):
Netflix or PBS or YouTube orwhatever, but, I mean, if you could
pick where Art House isdistributed, you know, where.
If you could.
If you could choose.
Where do you see Art Housebeing distributed?
Is it a.
Is it ideal for Netflix?
Is it ideal for PBS?
Is it ideal for YouTube?
Is it ideal for HGTV?
Like, where would you like tosee Art House end up?
(43:19):
Well, I don't know if there'sone place.
I mean, because, you know, itcould be on HTTV Network.
It could be, you know, a Netflix.
But, you know, maybe HTTVmight be more personal, you know,
because it's really gearedtowards homeowners.
Right?
Yeah.
HTV Home 5 feeling, you know,renovations, people, you know, emotions
(43:43):
and stuff like that.
Right.
Netflix is such.
More of a broad audience anddiverse and, you know, so that, you
know, so I guess more of amovie would Be htv, Magnolia Homes,
like any of that type ofproduction company, you know?
Yeah, yeah, I agree.
I mean, you know, we've been,you know, it's interesting.
(44:04):
We've been talking a lot about it.
I mean, obviously, Netflix haskind of a, you know, I mean, there's
some sex appeal there.
It's like, we're on Netflix.
But the reality is, if you'reon Netflix, you're, you know, they're
not really promoting the show.
You're part of the scroll.
You know, good luck, you know,really connecting right, to.
To the audience.
Something like hdtv, to your point.
You know, the people are goingthere to figure out how to make their
(44:28):
homes better.
Right.
And.
But also, you know, you know,people think of PBS as maybe being
old and stuffy, but, you know,at the end of the day, you know,
people trust pbs, and a showlike this could really do well on
pbs, I think.
Yeah, absolutely.
But we'll see.
See, we'll see.
We'll see.
More to come.
You know, one of the things Iwant to chat about before I let you
go, Link, and I'm just sograteful, man, that you took time
(44:50):
to sit down with me today andtalk about this.
And, you know, when you and Idid the proof of concept pitch reel
in Chicago last year, youknow, as you very well know, I stood
in as the host and for betterand worse, stood in as the host.
And, you know, at that time, Iwas happy to do it because, quite
frankly, I knew exactly what Iwanted and I knew exactly the kind
(45:12):
of tone and manner that Iwanted the show to strike.
And so I knew I could do thatand kind of, you know, provide an
example of what I was looking for.
But I, you know, Candor, neverreally wanted to be the host of the
show.
I've got a lot going on in life.
(45:33):
I'm a dad, too.
Traveling around, doing a TV show.
Not the kind of lifestyle I want.
And quite frankly, Link, andall Candor, I don't want to be famous,
man.
You know, I want to be able tolook, I don't want to.
I don't want to be world famous.
And, you know, that wouldhappen if I was the host of the show.
I mean, I'd be world famous.
I couldn't walk down the street.
Paparazzi, you know.
Yeah, exactly.
(45:54):
Paparazzi all the time.
Miserable.
I don't need that in my life.
I don't need pop to school.
You just said you don't wantthem taking photographs when you're
dropping your kids off.
Exactly.
I don't know, I'm not going todo that to my kids.
So rather than being worldfamous, I chose to, you know, find
a host that, that does want tobe world famous and wants to step
in.
And so, you know, one of thethings that we've been doing over
(46:16):
the last, you know, six, 10months is looking for the new host.
And, you know, we, I don'tknow if I shared this with you, but
we looked at three people, twowomen and one man.
They were all artists.
Carter Roy Got of Hoboken, New Jersey.
Wonderful artists andwonderful guy.
You know, we, we screen tested him.
(46:37):
You know, he was great.
You know, definitely had a lotto offer.
We talked to Japanese Americanartist Mary Lai here in Los Angeles.
Again, great artist, greathuman, had a lot of strengths and
she did great in her screen test.
And then we talked to CarmenAcosta, and Carmen is an artist,
(46:59):
creative director here in Los Angeles.
Latina woman who is kind ofwell known in art circles here in
la.
And we also screen test at herand she just killed it.
I mean, she just did aphenomenal job.
Everybody agreed to great, butshe just, you know, you know, stood
out.
And then also, interestingly,you know, she's the other, you know,
(47:20):
folks, you know, married withkids, that kind of thing.
And, and Carmen is, is freeand, you know, excited to travel
and do things.
And, and so I'm saying that tosay that we have a new host for the
show we're very excited about.
Carmen Acosta.
She's exactly the kind of, of person.
She's an expert, affable hostthat we were looking for.
(47:42):
She can speak to anybody and everybody.
She's the kind of person thatwill be able to easily go into artists
studios, talk to the artists,talk to the people, and she'll kill
that for sure.
But then she's also the kindof person that, you know, you can
imagine that we do a showsomeday with like a couple and they've
got, they've got 50 bucks,they've got a hundred bucks, you
(48:03):
know, what are they going todo, you know, and, and, you know,
Carmen's the kind of host thatthey, she could take them, you know,
to the, you know, local fleamarket or the local art fair or whatever,
and, you know, find somethingthat's really special and amazing,
you know, for, you know, 50,100 bucks, you know, so she's, she's
got that kind of.
(48:23):
And by the way, she's agraphic designer and a creative director,
so she can help people thinkabout the space that the art is going
to hang in.
And maybe you want to paintthat wall, you know, a different
color or whatever, to help theart pop, or maybe you want to frame
the piece in a certain way.
And so anyway, so we're.
We're just really stoked aboutour new host, Carmen Acosta.
(48:44):
And, And I really look forward to.
To you meeting her becausewhen we, you know, shoot the pilot,
we're coming back to Chicago,she's going to be the host, and you'll
get a chance to meet her.
So anyway, so I just wantedyou to know that unfortunately, you
know, you're not going to beable to work with me anymore.
Excellent.
Finally I don't have to workwith Scott anymore.
Yes.
(49:05):
Don't like your art direction.
Exactly.
Exactly.
Well, and, you know, as wewrap up, you know, I just want to
mention that, you know, onJune 10th, you know, we're launching
our crowdfunding campaign.
We've decided to raise themoney for the pilot through crowdfunding.
Why?
Well, because we get toactually make the show we want to
(49:27):
make.
You know, we.
You know, one of the thingsthat I've learned, you know, pitching
ideas around Hollywood is that the.
That the.
The.
The tighter your presentation,the better your chances.
You know, Hollywood doesn't dogood with just concepts and ideas.
They want to actually see thescript, they want to see the pilot,
they want to see the actualthing that you're making.
(49:48):
And money right now inHollywood is tighter than ever.
And everybody I talked to ishaving a hard time, you know, finding
money for their projects.
And, you know, and there'sthis rise of independent production,
independent producers,independent projects.
And so, you know, we thought,well, you know what?
We want to make the show.
We want to make.
We want to make the pilotthat's the most.
Represents the show.
(50:10):
Art house.
And, and we want to make it ourselves.
And that pilot will allow us,you know, we believe, to sell the
show and raise the money tomake the.
The rest of the show, thatkind of thing.
And so June 10th, we're goingto launch a crowdfunding campaign.
We're going to raise $150,000.
We've already raised 25,000,so we're looking to raise 125.
(50:30):
And the campaign will run fromJune 10th to around.
What would that be, July 5thor something?
I'll run for about 45 days.
So anyway, so get your walletand checkbook out.
You got it.
Absolutely.
Your success is my success, bythe way.
Love that attitude.
You gotta feed the fish to eat dinner.
You got.
You gotta.
(50:51):
And that's in all candor.
And that is exactly, I hope,the attitude that most artists take
with this project, that theyunderstand that that to get behind
this project means to getbehind their own success.
Because, you know, show likeArt House ultimately, we believe
would grow the market and growdemand and bring revenue into the
marketplace.
You know, a lot of peopledon't understand that the home decor
(51:12):
sector, you know, so the, thehome decor wall art sector, this
is the mass produced stuffthat people buy at Target or they
buy at Creighton Barrel orthey buy at Ikea or whatever.
That, that market, that homedecor wall art market is almost a
$7 billion category, right?
A $7 billion category.
(51:33):
And the reason people aresettling for mass produced home decor
is because they feel like theycan't afford original art or that
original art isn't for them.
And I just believe a show likeArt House could help educate and
empower people such that wecan convert 1 to 3% of that 7 billion
into the original art market.
So.
So anyway, so for artists toget behind the show, I think is a
(51:56):
smart move because ultimatelyit's good for them.
And that's why we want to do it.
We just want to help artists.
Awesome.
Well, we're gonna get there.
Thanks, Alen.
You're the best man.
Thanks so much for coming through.
Thanks for having me.
Thanks for listening to theNot Real Art podcast.
(52:16):
Please make sure to like thisepisode, write a review, and share
with your friends on Social Social.
Also remember to subscribe soyou get all of our new episodes.
Not Relart is produced by CrewWest Studios in Los Angeles.
Our theme music was created byRicky Peugeot and Desi Delauro from
the band Parlor Social.
Not Real Art is created by weedit podcasts and hosted by Captivate.
(52:38):
Thanks again for listening toNot Real Art.
We'll be back soon withanother inspiring episode celebrating
creative culture and theartists who make it.
Popular Podcasts
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!