who were finally getting their time in the spotlight, finally having their works go for millions of dollars at auction,” she says. “When I learned about the compensation structures, that those artists weren’t getting compensated from those grand auctions, I thought to myself,. That definitely felt like a lightbulb moment.”
” in a sexy industry — a “simple solution,” she explains, “that respects a lot of the norms of the market,” while adding “an important layer of equity and accessibility for artists, galleries, and collectors alike.”I met Max, my co-founder, at Stanford. I was studying computer science and then, separately, taking art classes on the side.
We are definitely a venture-funded business. We started off using our savings, but the first bit of money we got by doing a big friends-and-family round, and really quickly that expanded to artists investing, academics, operators, former mentors — our first investors were people who really believed in our mission and had a depth of knowledge in some realm that was advantageous to business. They ended up being this power circle of people I really admired.
. I used to think that it was this scary, PowerPoint presentation to a boardroom full of investors; now, I really think of it as a fun, two-way conversation between potential ideological partners. Now, I’m not scared of it at all and I kind of find it fun.
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