HeyJaredArt for Breakfast
Art for Breakfast documents the real path from art lover to collector and cultural builder. Studio visits, gallery and collector conversations, acquisitions and building decisions.
- Indexed issues, last 90 days
- 5
- Latest publication
- Sep 15, 2026
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- Earliest in this view
- Jul 8, 2026
Latest issues
Beyond Collecting: What I am building in Portugal (opens the original)
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Collector Note 9 - You do not need to be ready (opens the original)
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In the past weeks, I had a chance to have a conversation with the gallerist Johann König on Instagram Live. I acquired my first original painting in his gallery (read here), but had been following the gallery for many years before that. I always found Johann’s personal story impressive: he built one of Germany’s most prominent galleries despite losing most of his sight in a childhood accident.This note covers a handful of thoughts from a 45-minute conversation. Th
Collector Note 8 - From the Class Room to the Experimentation Laboratory (opens the original)
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About twelve years ago, reading Sarah Thornton’s Seven Days in the Art World, there is a chapter on Takashi Murakami’s studio operation: the scale of it, the division of labour, the geography, the separation between the artist’s thinking and the production of the work. Almost impossible to picture at the time. Then came Don Thompson’s The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art, with a chapter on Damien Hirst’s studio. Then I filed it away.In July I visited Jeppe Hei
Collector Note 7 - The People in the Room (opens the original)
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Organising a collectors' gathering for the first time feels different from attending one. Introducing a community, sharing part of a story in front of a room, holding the shape of a conversation: that was a different act.<img alt="" class="sizing-no
Collector's Note 6 - Who Gets to Collect? (opens the original)
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My generation is navigating an economic reality that no recent previous generation of collectors has had to face. Property prices in most cities we want to live in are out of reach. Pensions are uncertain. The stock market sits at valuations that are historically hard to read, with an AI bubble nobody can price confidently. The ecological situation adds a layer of long-term anxiety that makes committing capital to anything feel heavier than it used to. And art, unlike property or index funds, do
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