Millennium Partners’ Phil Aarons is, in his own words, obsessed with art. This passion and a love for interacting with architecture and design is what led him—together with partners Chris Jeffries and Phil Lovett—to create one of the most acclaimed luxury residential brands in the country. For decades, Millennium Partners has been perfecting a development strategy that has become the paradigm of an entire industry. At the core of that strategy are two primary goals: to transform thought-to-be ordinary neighborhoods into destinations and to connect residents with the city around them in a way that’s never been done before. Recognizing that the strongest relationship with any local culture is often through its art, Phil decided that the work adorning each property would be created by local artists in that city. From New York to San Francisco to Miami and now Boston, he and his wife Shelley Fox Aarons, with the help of art advisor Edsel Williams, delved into the art community in search of work that complements the character and design of the property and reflects the unique identity of the cities themselves. And so the Millennium Partners Collection of Contemporary Art grew to become one of the most innovative and interesting corporate collections in the United States.

Completely submersed in the art world, both professionally and personally, every aspect of Phil’s life is colored with art—so much so that his homes resemble art galleries and his “free time” is spent supporting emerging artists through institutions like MoMA PS 1, Printed Matter and Creative Time. With a breadth of interest in everything from painting and sculpture to architecture and the art of city planning, Phil has a deep understanding of how art affects people and how each piece transforms the space in which it lives. Read on for an interview with Phil about the Millennium Partners Art Collection and discover the inspiration behind the art in Millennium Place.

Q & A With Phil Aarons

Q: How did the Millennium Partners Art Collections begin?
A: With our first property in New York, we latched onto the notion that the strongest way to connect with the local environment would be through the art community. This was especially significant for us because we had established a practice of developing multi-use urban projects in iconic parts of cities across the United States. We wanted the art we displayed in our properties to come from the communities where the project was situated, rather than just reflect a generic corporate collection.

Q: How is the art in each property chosen?
A: We look for pieces that feel organic and related to the environment where our projects are being developed. We think people can relate to these pieces not only because they’re great generators of thought, but because they come from the fabric of their local neighborhoods. This became even more significant in Boston, San Francisco, and Miami – all cities that have such rich local art scenes. We work with a team of talented consultants who really immerse themselves in the local culture to discover what’s important, related and unique to that city.

Q: Was there a particular vision for that art that was chosen for Millennium Place?
A: We decided that we would focus on artists who were actually teaching in the schools. Boston is such a great educational city and very well regarded for its institutions, specifically its art schools. It’s important to showcase art that professors who have been teaching for years are showing to their students and that’s being shown in galleries. We wanted to observe what contemporary art students are being encouraged to look at.

Q: Where did your passion for art begin?
A: Well, my father was a photographer. And I was actually an Art History major, so I always had a passion for art. Actually, it’s somewhere between passion and obsession. My wife and I collect contemporary art ourselves. Through this interest and history of mine, I came to understand how art can have a real impact on how people live. In Boston, many of the artists were people I didn’t know, which is part of the fun. I like the sense of discovery and I believe that pushing yourself to find things you respond to emotionally or aesthetically is important.

Q: What do you look for in each piece of art?
A: Well, it has to be good, which is subjective, and it has to look good in the space, which is not the same thing. But, we’re not checking things off a list or putting art into slots. We look for work that provokes a response, asking ourselves whether the piece is welcoming, thought-provoking, or challenging. We want pieces that both draw focus and work cohesively within the space. It’s not designed to be easy on the eye. It has to reflect the identity of the environment that surrounds it. And these attributes have a wide range that the work can fall into. We don’t believe art follows rigid rules – quite the opposite, actually.