Peter Marino

Peter Marino is presented in the diary through a brief but distinctive 1986 encounter: a birthday party for his dog and a visit to his expansive office. The entry gives no broader biography or personal arc; its significance lies in the concrete social and professional details through which Marino briefly comes into view.

Appearance in the Diary

On Monday, July 28, 1986, Andy Warhol took a cab to Marino’s birthday party for his dog, recording the fare as five dollars. He called the gathering unreal and noted that a Daily News reporter was covering it, leaving open what angle the paper might take. The diary’s attention moves easily between a social occasion and the details by which it might become public news.

A Party Recorded in Objects and People

Warhol noticed two dishes marked Archie and Amos, then clarified that he had not brought them; he had wanted to take photographs for the Party book. Jane Trapnell, Marino’s wife, made costumes for the television show Kate & Allie, and Jane Curtin had brought her dog to the gathering. These details place Marino’s party among overlapping worlds of design, television, pets, photography, and press coverage, without turning the entry into a formal account of the occasion.

The Office and Professional Scale

Warhol also walked around Marino’s office, describing it as very large, with building models and fabric samples spread throughout. He estimated that Marino had about forty people working for him. The office visit gives the party snapshot a professional dimension: Marino’s work is conveyed not through a stated title or résumé but through the models, materials, and substantial staff that filled his workplace.

A Brief Portrait

The entry leaves Marino as a passing figure rather than developing him across a sustained narrative. Its compact portrait rests on a telling contrast of settings: a dog’s birthday party reported by a newspaper and an office equipped with the visible materials and personnel of a sizable practice. The diary records both as parts of the same day, preserving Marino’s social presence alongside the scale of his work.