TriplePinch Media
Boutique Media
Buying & Planning
Strategic media for auction houses, galleries, dealers, and advisory — placed where collectors, clients, and the art trade actually are.
The media expertise of a major agency.
The discretion of a trusted adviser.
The audiences that matter to the art market — collectors, advisors, specifiers, culturally engaged consumers — do not live exclusively in art publications. They read the Financial Times, the New York Times, The Guardian. They subscribe to Monocle, Wallpaper*, HTSI. They attend Frieze and Art Basel but also read British Vogue and GQ. A media strategy that only speaks to the art world misses the broader context in which buying decisions are actually made.
TriplePinch Media is a boutique media agency built for the art market — auction houses, contemporary galleries, specialist dealers, old masters, art advisory, and design institutions. We handle media buying and planning, editorial partnerships, and strategic visibility across both the niche art-world titles and the broader lifestyle and cultural publications where your audiences live.
Twenty-two years working at the intersection of art and media — including senior commercial roles at the Financial Times, Condé Nast, and The Guardian, and a leadership position at Dezeen — means we understand every category of the art market and how to position it in either a specialist editorial context or a broader cultural one.
How We Place
Media Buying & Planning
Strategic placement across print, digital, and emerging platforms — from the Financial Times and Frieze to The Art Newspaper, Wallpaper*, and the New York Times. We negotiate directly with publishers, leveraging relationships built over two decades inside their organisations.
Whether the objective is niche art-world visibility or broader cultural positioning, we calibrate the placement to the audience — not just the category.
Editorial Partnerships
Auction season campaigns, gallery programme launches, dealer showcases, fair partnerships, and institutional collaborations — bespoke arrangements that reflect your positioning and create genuine editorial alignment.
We understand the particular sensitivities of both art-world and mainstream publications — where the line between editorial and commercial is guarded carefully. Whether you are a major auction house or a specialist dealer, we know how to frame the approach for each editorial environment.
Digital & Emerging
Digital targeting for collector and specifier audiences, video strategy for auction houses and galleries, and emerging platforms where the next generation of art buyers already lives.
Traditional expertise with a contemporary lens — because the art market's audience is broader and more culturally fluid than most dealers and institutions realise.
Why This Works Differently
Most art-world media buying is handled by in-house teams with no media expertise, or by generalist agencies that don't understand culture, luxury, or the nuance of art categories.
We understand culture, luxury, and every category of the art market — from contemporary galleries like David Zwirner, Emmanuel Perrotin, Gagosian, and Hauser & Wirth, to the major auction houses, to the nuance of the specialist dealer and the old masters market, and how all of this has evolved over time. That breadth matters because the right media strategy for a contemporary gallery is fundamentally different from the right strategy for an antique dealer or an advisory firm.
Twenty-two years inside this world — building the commercial art partnerships at the Financial Times, navigating the art and design portfolios at Condé Nast and Dezeen, launching The Guardian's design coverage — means we know how publications receive commercial approaches. We know which partnerships create genuine editorial alignment and which are simply paid placements that the editorial team resents. We know how to position your brand within an editorial environment — whether that's a niche art-world title or the FT Weekend — so the placement works harder than the spend.
Senior-level attention at every stage. No layers, no junior account handlers. The people who build the strategy are the people who manage the relationship — with the discretion and cultural fluency the art market expects.
How We Work
01
Understand
We begin with your objectives, your audience, and your existing media activity — mapped against the art calendar: fair seasons, auction weeks, biennale years, and the editorial rhythms that determine when visibility matters most.
02
Plan & Negotiate
We develop a media strategy calibrated to your programme and budget — whether that means concentrated spend around an auction season or sustained visibility for a gallery programme across the year. We negotiate directly with publishers, leveraging relationships built inside their organisations.
03
Execute & Optimise
We manage the entire process — from booking to creative delivery to performance review. Fair by fair, season by season. We refine as we go. Our fee is a standard industry commission of 15% of media costs — straightforward, transparent, aligned with what we place.
The Art Market
The whole ecosystem. From large-scale, needle-moving partnerships with the major auction houses and global art fairs, to sustained programmes for blue-chip contemporary galleries, to smaller interventions that give specialist dealers and emerging galleries the visibility they need to compete. We have guided galleries from David Zwirner and Gagosian to Hauser & Wirth and Emmanuel Perrotin through the media landscape — and worked just as closely with old masters specialists, antique dealers, and advisory firms navigating a market that has changed enormously over the past two decades.
We have brokered media partnerships across the art market that remain in place nearly a decade after we moved on. That longevity reflects the quality of the thinking, not just the negotiation. And it reflects something else: an understanding that the audiences these clients need to reach — collectors, advisors, culturally engaged buyers — are not confined to art-world publications. They read the FT, the NYT, The Guardian, Monocle. A credible media strategy has to work across both contexts.
Christie's, Sotheby's, Phillips, Frieze, Art Basel, David Zwirner, Gagosian, Hauser & Wirth, Emmanuel Perrotin — and the specialist dealers, old masters houses, advisory firms, and emerging galleries that make up the broader ecosystem.
The Titles We Know
These are not publications we simply place in. They are organisations where we have personal relationships with the commercial directors and editors — the result of two decades spent inside these titles. The list spans niche art-world titles and the broader cultural and lifestyle publications where collectors, advisors, and culturally engaged audiences actually spend their time.
This is not an exhaustive list. We work with the titles that serve your brief.
Auction-season campaigns that convert. Gallery programmes that gain visibility. Dealers and advisory firms that reach collectors beyond their existing networks. Sustained presence — in both the art world and the broader cultural landscape — in the publications that matter.
TriplePinch Media
Get in Touch
We take on a limited number of media clients each year to ensure every engagement receives senior-level attention.
The first step is a conversation — no commitment, no obligation. We will listen, assess, and come back with a clear recommendation.
Alexis Williams
Founder, TriplePinch
