{"id":495136,"date":"2026-06-18T15:30:00","date_gmt":"2026-06-18T13:30:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/andy-warhol-mick-jagger-jet-set-life-as-seen-by-bob-colacello-at-the-ropac-gallery-2\/"},"modified":"2026-06-18T15:45:37","modified_gmt":"2026-06-18T13:45:37","slug":"andy-warhol-mick-jagger-jet-set-life-as-seen-by-bob-colacello-at-the-ropac-gallery-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/photography\/andy-warhol-mick-jagger-jet-set-life-as-seen-by-bob-colacello-at-the-ropac-gallery-2\/","title":{"rendered":"Andy Warhol, Mick Jagger: Jet-set life seen through Bob Colacello’s lens"},"content":{"rendered":"\n
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\"\"\/\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bob Colacello, \u201cAndy’s Room Service Breakfast, Naples\u201d (1967).<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Bob Colacello, \u201cAndy with West German Chancellor Willy Brandt, Bonn\u201d (1976).<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Bob Colacello, \u201c Jade Jagger, Montauk Airport\u201d (c. 1977).<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Bob Colacello, \u201cBianca Jagger, Halston’s House, New York\u201d (1976).<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n

Born in Brooklyn in 1947, and raised on Long Island, he currently works for the Peter Marino Art Foundation in the Hamptons. His liv- ing-legend status doesn\u2019t entirely depend on the 2004 book he published on Ronald and Nancy Reagan (\u201cHalf the art world stopped talking to me,\u201d he recalls, though that hasn\u2019t put him off planning to write the second volume soon) but rather on the time he spent with Andy Warhol in the 1970s \u2013 time he frenetically documented with his camera, a little Minox he always carried with him. Eighty of his photos, shot between 1976 and 1982, are currently on show at Thaddaeus Ropac in Paris<\/strong> (Marais), while a book of them has just come out titled It Just Happened<\/i>. <\/i><\/p>\n

 <\/p>\n

Bob Colacello, photographer of jet set’s golden age<\/h2>\n

 <\/p>\n

In his introduction, Bob Colacello<\/strong> recalls the accidents of life that turned his existence into a delicious back-and-forth between the avant- garde and the jet-set. \u201cIt just happened that at the parties we were constantly going to in New York, Los Angeles, Paris, and London, lesser-known people kept blocking my view of better-known people, but I took the pictures anyway, because I realized parties were like that, producing a layered look that I came to see as my style. It just happened that the 1970s was the most wide-open decade since the Roaring Twenties, and everyone wanted to be in the mix \u2013 young and old, gays and straights, blacks and whites, millionaires and hustlers \u2013 culminating in the ultimate decadent disco, Studio 54.\u201d<\/em><\/p>\n

 <\/p>\n

The literary conceit of repeating \u201cIt just happened\u201d makes me think of the \u201cAnd just like that\u201d in each episode of the Sex and the City <\/i>reprise, which, 20 years later, shows Carrie Bradshaw struggling with an era whose aspirations she finds dismal and bizarre (for example, the scene where she\u2019s astonished that her lover asks permission to kiss her) and that make her miss her youth. Colacello<\/strong> seems similarly regretful with respect to his own youth \u201cwhen they just stole your wallet without hacking your bank account,\u201d<\/em> as he recently told Le Monde<\/i>. <\/i><\/p>\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bob Colacello,
Sylvia Martins, Diane von Furstenberg, Richard Gere and Barbara Allen at Diane von Furstenberg’s, New York<\/em> (1980). \u00a9 Bob Colacello. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

Photographs showcasing a free era<\/h2>\n\n\n\n

His photos also now appear in a nostalgic light, portraying as they do an era whose liberty and flamboyance seem to have made the generations that followed want to free themselves from them by imposing all sorts of rules in the name of the politically correct. In Colacello<\/strong>\u2019s candid shots, we find a whole host of larger-than-life figures recorded in black and white that exaggerate their characters as historical documents: Warhol<\/strong>, of course, often at home, for example eating from a plate on his lap, a photo to which Colacello added the handwritten caption: \u201cAndy eating, tape recorder on his lap. He called it \u2018My wife, Sony.\u2019\u201d <\/em>But we also saw, among other luminaries of the time, Christina Onassis, Paloma Picasso, Jacqueline Bisset, Rudolf Nureyev, Est\u00e9e Lauder, Norman Mailer, and Truman Capote. The author of Breakfast at Tiffany\u2019s <\/i>was shot, among others, with Warhol during a bookstore signing: \u201cAfter he was banned from international society, Truman started writing for Interview, and would sign copies of the magazine with Andy, here at a bookstore in Southampton,\u201d <\/em>reads Colacello\u2019s caption.<\/p>\n\n\n\n

Like most of his photos, this one is a bit blurry and perfunctorily composed: the subjects are not posing but captured in the instant, as though life was hurtling by at top speed and the shutter caught a random nanosecond. But because it was him be- hind the viewfinder, and because he had access to everybody, the subjects photographed have an air of intimacy, including the German artist Joseph Beuys, shot at the Lucio Amelio Gallery in Naples, in 1980, with Warhol<\/strong>. The caption reads, \u201cIt wasn\u2019t clear if Beuys appreciated Andy encouraging his teenage daughter to become a model, when they met again in D\u00fcsseldorf the following year.\u201d<\/em><\/p>\n\n\n\n

The \u201cdefault\u201d style of his photos seems to have found an echo decades later in fashion photography and, in truth, their fascination is not entirely divorced from their uncertain status, which is just as lopsided as their on-the-hoof composition. While they\u2019re certainly not artworks, they could be considered to a certain ex- tent historical documents, as well as diary entries, reportage, and also vestiges and relics. This indeterminate status also portrays a bygone age that has been replaced by one where it seems that everything must be defined, outlined, and circumscribed within its ambitions \u2013 ambitions that are easy to understand and, consequently, to consume.<\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bob Colacello,
Kevin Farley, The Leonori, New York<\/em> (c. 1978). \u00a9 Bob Colacello. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

The most effective portrait of Colacello<\/strong> is, to my mind, that written by Pat Hackett in the introduction to Warhol<\/strong>\u2019s famous diary, which, as his \u201cfriend and long-time collaborator,<\/em>\u201d she edited, in light of her daily phone conversations with him. \u201cBob Colacello, who had graduated from Georgetown University\u2019s School of Foreign Service and had come to the Factory by way of writing a review of <\/em>Trash for the Village Voice, was working by this time mainly for the magazine (now, with a slight title change, called Andy Warhol\u2019s Interview), doing articles and writing his column, OUT, which chronicled his own around-the-clock social life and dropped a heavy load of names every month. In 1974, Bob Colacello<\/strong> (by then he had dropped the \u201ci\u201d) officially became the magazine\u2019s executive editor, shaping its image into a politically conservative and sexually androgynous one.\u201d <\/em><\/p>\n\n\n\n

It wasn\u2019t a magazine with a family readership. A survey in the late 1970s concluded that the average Interview<\/em> reader had something like 0.001 children. “Its editorial and advertising policies were elitist to the point of being dedicated \u2013 as Bob himself once explained, laughing \u2013 to \u2018the restoration of the world\u2019s most glamorous \u2013 and most forgotten \u2013 dictatorships and monarchies.\u2019 It was a goal, people pointed out, that seemed incongruous with Bob\u2019s Brooklyn accent, but this didn\u2019t stop him from going on to specify exactly which monarchies he missed most and why.\u201d<\/em><\/p>\n\n\n\n

\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bob Colacello,
John Paul Getty III, Mick Jagger, Mackenzie Phillips, Nicky Waymouth Lane, Mr. Chow, London<\/em> (1978). \u00a9 Bob Colacello. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

His friendship with Andy Warhol at the core of an exhibition<\/h2>\n\n\n\n

The Colacello<\/strong> photos shown in the exhibition essentially document his time with Warhol, until that fateful day of January 6th, 1983. Warhol<\/strong> recorded it in his diary: \u201cWhen I got to the office, Vincent gave me a letter. It was from Bob. He had resigned … I was happy for Bob. … With respect to Bob\u2019s departure, it wasn\u2019t because of the money, he earned a lot … If he\u2019s found a good job, I\u2019m happy for him. Only he shouldn\u2019t have re-signed without notice. That\u2019s not nice. And it\u2019s not professional.\u201d<\/em> <\/p>\n\n\n\n

Forty years later, Colacello<\/strong> corrected: \u201cWe all worked for Andy for nothing<\/em>.\u201d The breakup was perhaps a question of money after all\u2026 Yet, Colacello also ironically explained in Interview<\/i> Magazine<\/em> in 2014: \u201cI was 35, and it was time to move on. I was tired of Andy \u2013 then in his anorexic Zoli model phase. I was fed up with the antics and intrigues of his playmates … So, yes, it was a bad breakup. But we slowly reconciled, because there was a deep reservoir of shared experience and affection from working together so closely for so lon<\/em>g.\u201d <\/em>That same year, Colacello <\/strong>started his collaboration with Vanity Fair<\/i>.<\/p>\n\n\n\n

His photos have an undeniable documentary value, since a whole era is captured through them. The way it differs from the times we\u2019re living in today becomes crystal clear. They also compose a fascinating memoir of a man who, with his \u201cit just happened<\/em>,\u201d claims that chance played a primary role in his destiny. \u201cSo here we are. I never planned or plotted any of this<\/em>. I have, however, always followed my mother\u2019s motto: \u2018When opportunity knocks, open the door!\u2019 I\u2019ve walked through a lot of doors,\u201d<\/em> he wrote. <\/p>\n","protected":false},"excerpt":{"rendered":"

Born in Brooklyn in 1947, and raised on Long Island, he currently works for the […]<\/p>\n

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