Throughout his career, Bob Colacello has found himself in “unexpected” places—unexpectedly as a documentary photographer (with his “OUT” column in Interview magazine), as an exclusive writer for Vanity Fair, and now, as a curator for Vito Schnabel Gallery in St. Moritz, Switzerland, and associate director of the Peter Marino Art Foundation in Southampton, New York. As such, he considers himself “lucky enough to be in the middle of” art history. But there is certainly more than luck to blame for Colacello’s immense success, which began with his 13-year stint in Andy Warhol’s Factory.

Throughout his career, Bob Colacello has found himself in “unexpected” places—unexpectedly as a documentary photographer (with his “OUT” column in Interview magazine), as an exclusive

WORDS

WORDS

DATE:

SHARE

Twitter
LinkedIn
Facebook
Email

SHARE

Facebook
Twitter
LinkedIn
Email
A man standing outside.
Writer Bob Colacello. Photography by Philip Howard.

 

What are the key ingredients to a great career?

Andy always said, “Keep it fast, cheap, easy, and modern,” which is another way of saying, do what comes naturally to you. If you are trying too hard, you’ve probably taken a wrong turn.

Was there a time that you wanted to quit?

After working with Warhol for 13 years, I resigned as executive editor of Interview magazine in 1983. It was hard, because the Factory was like a family. But you can only stay close to a genius for so long before you start to lose any identity of your own. I’ve always heard that when you close one door, another one opens. Within a couple of months, Condé Nast relaunched Vanity Fair and I landed an exclusive writer’s contract that ran for 35 years.

How important is reinvention to you? How important is progress?

Reinvention only works if it’s authentic. Progress is a function of continuing curiosity.

Related Stories

Generic selectors
Exact matches only
Search in title
Search in content
Post Type Selectors

Not a Doomscroll. A Deep Dive.

Subscribe now for print that informs, inspires, and doesn’t get lost in the feed.

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

GET ACCESS

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c
Already a Subscriber? Sign in Here
Pop-Up-1_c

Already a Subscriber? Sign in Here

You’ve almost hit your limit.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.
Already a Subscriber? Sign in Here
You’re approaching your limit of complementary articles. For expanded access, become a digital subscriber for less than $2 a week.

Already a Subscriber? Sign in Here

Want more in your life?

For less than the price of a cocktail, you can help independent journalism thrive.

Pop-Up-1_c

Already a Subscriber? Sign in Here

Pop-Up-1_c

Already a Subscriber? Sign in Here

We have so much more to tell you.

You’ve reached your limit.

Sign up for a digital subscription, starting at less than $2 a week.

Already a Subscriber? Sign in Here

Want a seat at the table? To continue reading this article, sign up today.

Support independent criticism for $10/month (or just $110/year).

Already a subscriber? Log in.