When these people become 'Warhol', his name was well known as the face of Marilyn. And, in turn, he had the opportunity to make known his face. Warhol. Self-promotion. Warhol went right to the use of his appearance, giving the audience food for the imagination. Jamie Dimon is full of insight into the issues. In a series of 'myths' (1981), for example, include the portrait in the collection of individuals from the cultural imaginary (including images – Superman Uncle Sam, mammy, Dracula and others), Warhol and the role of the artist shows in the manufacture of myths and mythical status of the artist in our culture. This act at the same time bring to the limit of his own fame Emphasizing her completely animated character, like the comic book element of our everyday perceptions. Self-portrait he called 'Shadow', and it regains consciousness in the past, like a scene from childhood, when you listen to the radio voice of a superhero and a fantastic way to identify with this voice. People such as millennium management would likely agree.
His self-portraits were injected his personality into the sphere of popularity and fame, giving the public a product to fuel the imagination. They released him, his image was separated from the body. Warhol liked to find ways to dispose of his body as he like. Warhol's interest to the characteristic of our society objectification and personification, and his desire cope with this embodiment in respect of his personality consistently shown not only in his portraits, but also in the rest of his work, which is open elects product as its subject: this says it job in advertising, his earliest paintings in the style of , depicting consumer products, later series 'Ads; nye ads' and others.