Journey Through Time: Marino's Eclectic Vision
A Sanctuary of Diverse Artistry
The Peter Marino Art Foundation occupies the former Rogers Memorial Library, a charming historic edifice in Southampton, New York. Inside, its namesake has transformed it into a surprisingly idiosyncratic realm. This summer, the architect and collector, known for his iconoclastic taste, has orchestrated a fascinating juxtaposition of artworks. He has placed portraits by Robert Nava alongside those by Y.Z. Kami, while abstractions by Betty Parsons and Carla Accardi share a single wall. Elsewhere, a magnificent room brims with Tiffany silver, and a vibrant, red-painted chamber showcases Viennese paintings and objets d'art from the early 20th century. Scattered throughout are select pieces from Marino's extensive collection, including works by Rashid Johnson, Sanford Biggers, and a series of Eugène Atget prints. The foundation boasts over 500 works, merely a fraction of Marino's lifelong acquisitions.
The Fluidity of Artistic Expression
A significant pleasure of exploring Peter Marino's private museum lies in the sheer abundance of art encountered at every turn. Marino deliberately avoids treating the building as a series of isolated exhibitions. Instead, artworks from one century seamlessly blend with pieces from eras far removed. For instance, Ferdinando Tacca's 17th-century bronze, Hercules Capturing the Cerynitian Stag, is flanked by photographs and prints by Andy Warhol. The same room is enriched by carved wooden reliquaries from Central Africa, 19th-century ceramics by Théodore Deck, and designs by Les Lalanne. The arrangement is in constant evolution; if Marino believes an object would be better suited to another location, he simply relocates it. During a recent visit, the soft strains of the Velvet Underground's first record permeated the air, creating the impression of wandering through Marino's inner world. Curtis Clarizio, Marino's chief of staff, remarked during a rainy morning tour, “It’s kind of a little bit of an amalgamation of all the things that he loves.”
A Collector's Timeless Pursuit
Now 77, Marino has been passionately collecting art since the age of 22, and his discerning tastes have always transcended fleeting trends. “Art history is about 5,000 years and some people today are only interested in work made in the last three years,” Marino later conveyed at his opulent Southampton residence. “That’s not really collecting for me.” He explained that a true collection should encompass contemporary art, bronzes, antiquities, rare books, ceramics, arms and armor, and design in equal measure. He draws inspiration from European collections that have grown over generations, where centuries of art coexist naturally. On the foundation's second floor, for example, a room dedicated to Viennese objets d'art sits adjacent to one entirely devoted to Tiffany: silver, flatware, tea sets, hammered pitchers, vases, tankards, and candlesticks—all displayed at varying heights on mirrored or highly polished metal plinths.
Unexpected Artistic Harmonization
Marino possesses a remarkable ability to discern connections between artists whose paths would likely never have crossed, as exemplified by his two-person exhibition of Parsons and Accardi. In the foundation's Cathedral Gallery, he has arranged the two artists' paintings in a dense, salon-style display, where large abstract works are placed alongside more modestly scaled ones. The interplay between the gallery's double-height, vaulted timber ceiling and its warm parquet floor enhances this sense of scale, imbuing the chapel-like space with an intimate, domestic atmosphere. Stepping through another doorway, the mood transforms once again. A room with a wood-paneled floor and black walls provides the setting for a sparsely hung exhibit featuring Kami's serene, meditative dome paintings, which echo the ceilings of Byzantine churches and mosques.
Beyond Market Trends: Marino's Independent Eye
While Marino has collaborated with some of the world's most prominent collectors, from Bernard Arnault to David Martinez, his personal taste remains entirely independent of market fluctuations. Marino acknowledges prices, of course, but shows little interest in being told what he should desire. “I don’t really care what other people think,” he stated. When art dealers present an artist as “really hot,” he dismisses it as mere sales talk. “They should be selling shoes.” This sentiment resonated during a visit to a room within the foundation dedicated to Robert Nava, a market darling whose show at Pace Gallery in New York had not particularly captivated me. Yet, at Marino's, I found myself immersed in a delightful menagerie of animals and mythical creatures: a lion here, a dragon there, a castle further on. The installation evoked the sensation of creatures animatedly moving around the space, much like a carousel. These paintings do not take themselves too seriously, a characteristic that permeates the entire foundation.
The Art of Deliberate Acquisition
Marino's approach to acquiring new pieces is notably deliberate. His personal criterion for purchasing an expensive artwork is straightforward: he allows himself a week to consider it. If the artwork continues to occupy his thoughts “every morning, noon and night,” it signifies that he should proceed with the purchase. “I like to take my time,” he concluded.