TABLE OF CONTENTS

MY WARHOL

Maurizio Cattelan

FOR ME, WITH WARHOL, IT WAS NEVER REALLY ABOUT paintings or films or other artworks. It was always about him, his hair, his look. And it was about the fact that you can’t really divide his work by media or style: He had developed a system, or perhaps just an attitude—a wig, a costume, a mask—that hid as much as it revealed. Or maybe we should call it a system, since he managed to build a language in which every expression, sentence, and gesture seemed to fit and make sense. In the end, that’s what we call style: the ability to lay your hands on things and make them your own. Whether Warhol was making paintings, films, posters, or Polaroids, he was making Warhols. You knew that every time he did anything he was adding a new brick to his world.

I don’t even remember where I first saw his work: Warhol is so much everywhere that you can’t really say when you first encountered him. Before you

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the October 2004 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.