ABOUT THE GRAY MARKET
The Gray Market seeks to help fine artists, art dealers, and arts professionals build sustainable careers in an industry where economics are seldom discussed, best practices have yet to be developed, and technology is (finally) creating change.
The four pillars of The Gray Market's mission are:
To educate readers by illuminating the economics, business practices, and politics shaping the industry
To aid arts entrepreneurs of all types––including artists themselves––in honing their strategy (and its surrounding narrative) into a form that connects with their target audience
To identify new business opportunities outside the traditional gallery system, as well as unrecognized efficiencies within it
To assist clients in implementing these forward-thinking concepts in the real world
The Gray Market was founded by Tim Schneider, who has been embedded in the fine art industry since 2005. Before transitioning into art media, his work experience included directing galleries, overseeing private and corporate collections, and project-managing site-specific installations by leading blue-chip artists. He has also consulted on diverse projects for dealers, artists, collectors, and startups, as well as providing expert testimony in legal matters on the inner workings of the art market.
In 2013, Tim began The Gray Market as a blog dedicated to analyzing the economics, technology, and business practices of the fine-art industry. The Gray Market Weekly email newsletter followed in early 2015. In spring 2017, he became a regular contributor at Artnet News, the art industry’s most-read online trade publication. He joined Artnet News as a staff writer in 2018.
In June 2017, Tim released his first book, The Great Reframing: How Technology Will––and Won't––Change the Gallery System Forever. He has also lectured and moderated panel discussions at Art Basel, the Art Business Conference, the Talking Galleries symposium, and leading US universities.
Tim worked as a staff journalist at major art trade publications for around seven years: first at Artnet News from 2018 until mid-2023, the majority of that time as the art business editor; then at The Art Newspaper from mid-2023 until mid-2024, as the acting art market editor. He lives and works in New York.