Les premières photographies de Juergen Teller sont apparues à la fin des années 80 dans les magzines britanniques ID, The Face et Arena. Elles sont ensuite devenues le supports du langage visuel de toute une génération. Ses travaux pour la mode transmettent moins les visages toujours différents qui caractérisent la photographie de mode qu'ils ne révèlent une sensibilité plus profonde. Juergen Teller nous renvoie aux incertitudes de notre temps et libère la photographie de mode des conventions.
On 5 March 2014, Juergen Teller photographed the eagerly anticipated first collection by Nicolas Ghesquière as the new artistic director of Louis Vuitton. In his inimitable style, Teller visualizes the designer’s ambitious manifesto for the luxury house: “Louis Vuitton is a land of contrasts. A time-honored and noble legacy is kept alive by a yearning for discovery and exploration. Coursing boldly and imaginatively through the decades, Louis Vuitton refreshes the world of fashion with an untiring ebb and flow of retrospective and fresh perspective … This initial collection tells a tale of expertise made possible by innovative techniques. It focuses on the highlights and remains open to interpretation. Living proof that today’s ‘timeless’ was at one time seen as innovative. In this collection, the timeless is now.” This book is a collaboration between two of the most influential vanguards working in contemporary fashion. Teller’s candid, unadorned aesthetic perfectly complements the restrained luxury of Ghesquière’s fashion, marking the beginning of a new chapter in the rich history of Louis Vuitton.
Juergen Teller's new photographic series, Zimmermann, documents the supermodel Raquel Zimmermann engaging in family events and interacting with Teller's native environment in Bubenreuth, [in the district of Erlangen-Höchstadt], Southern Germany.
In the summer of 2005, a small booklet featuring Juergen Teller’s work was published, offering a unique glimpse into his world as a photographer, blending fashion, commissioned pieces, self-portraits, family photos, and scenes from his Bavarian home. The booklet began with portraits of his heroes, photographers William Eggleston and Nobuyoshi Araki. After quickly selling out, a second edition will be released alongside a new volume, marking the start of a series that will ultimately include a slip-cased collection of ten or more booklets. The new volume features Teller's recent project, ‘Ukraine,’ which uses Kiev as a backdrop for a fashion shoot, intertwining fashion, city still-lives, and portraits of everyday people to portray his vision of a country infused with youthful energy and a fascination with capitalism. Born in Erlangen, Germany in 1964, Teller studied at the Bayerische Staatslehranstalt für Photographie in Munich. His work has appeared in notable publications such as W Magazine, iD, and Purple, and he has held solo exhibitions at prestigious venues like the Photographer’s Gallery in London and the Fondation Cartier pour l’art contemporain in Paris. Teller has also produced several monographs with Steidl, including works focusing on Marc Jacobs and Zimmerman.
Juergen Teller's work showcases over thirty years of fashion and editorial photography, distinguished by his unique blend of candidness and humor. This groundbreaking volume features a mix of photography and collage, offering an insightful and personal look into his artistic journey. Through his wry narrative, Teller invites readers to explore the intersection of his life experiences and creative expression in the world of fashion.
In the summer of 2005, Steidl published a small booklet of Juergen Teller’s work, titled ‘The Master’, which explored his world and persona as a photographer through a blend of fashion, commissioned works, self-portraits, family photographs, and scenes from his Bavarian home. The book began with portraits of his heroes, photographers William Eggleston and Nobuyoshi Araki. After quickly going out of print, a second edition will be released alongside ‘The Master II’, initiating a series of booklets that will culminate in a slip-cased edition of ten or more in the future. ‘The Master II’ features his recent work ‘Ukraine’, where he uses Kiev as a backdrop for a fashion shoot, intertwining fashion, still-lives of the city, and portraits of everyday people to depict his vision of a country infused with youthful energy and a fascination with capitalism. Born in Erlangen, Germany in 1964, Teller studied at the Bayerische Staatslehranstalt für Photographie in Munich. His work has appeared in influential publications such as W Magazine, iD, and Purple, and he has held solo exhibitions at venues like the Photographer’s Gallery in London and the Fondation Cartier in Paris. Teller has also produced several monographs with Steidl, including Marc Jacobs Advertising 1998–2009 and Zimmerman.
This season sees the release of the newest book in Juergen Teller’s original and beloved “Masters” series. Teller made his first Master in 2005 as an homage to everything he believes is a master or masterful—be it a chef like Fergus Henderson, an artist like David Hamilton, his own grandmother, Kurt Cobain, or a landscape—as well as a tongue-in-cheek recognition of himself as a master of his own photographic identity. The concept was simple: to produce an ongoing series of humble books, each at the same small size, with no text and as little design as possible—an antithesis to the standard overblown coffee-table book. Like past volumes in the series, The Master IV features an unpredictable mix of Teller’s eclectic photography: be it his unorthodox fashion work, still lifes and landscapes, celebrity and self-portraits, or images that slip between these genres. These books are dedicated to four of Teller’s most important masters who have influenced both his work and outlook on life—Nobuyoshi Araki, William Eggleston, Boris Mikhailov and Charlotte Rampling—and feature new portraits of them.
The visual memoir captures a spontaneous road trip taken by Harmony Korine, Juergen Teller, and William Eggleston, along with his son, from Memphis to Mississippi. Through a blend of candid portraits and evocative images of the American landscape, the book highlights their intimate connection and shared experiences. It features striking photographs of gas stations, abandoned towns, and everyday life, while also revisiting Eggleston's iconic motifs. Eggleston himself is prominently featured, showcasing his distinctive style and presence throughout the journey.
Exploring profound themes of life and death, this project showcases a poignant series that reflects on the loss of the photographer's uncle and step-father. It intertwines intimate images of his mother and Bavarian homeland with symbolic representations of fertility and vitality captured during a trip to Bhutan with his partner. The book emerges from a collaborative exhibition, offering a deeply personal narrative that connects personal grief with broader themes of existence and renewal.
Die Idee zu dieser Publikation entstand während der diesjährigen Ausstellung Juergen Teller: Woo! am Institute of Contemporary Arts in London. Im Vorfeld der Ausstellung sollte Teller eine Auswahl seiner Bilder in einem etwas abseits gelegenen Raum der Galerie installieren. Geplant war, die Wände mit Zeitungs- und Zeitschriftenausrissen zu bekleben, auf denen seine abgedruckten Fotografien zu sehen sind. Juergen Teller hat das Projekt jedoch erweitert und Bilder verwendet, die das gesamte Spektrum seiner Arbeit der letzten zwanzig Jahre umfassen: Familienbilder, Auftragsarbeiten für Magazine, neuere Werbekampagnen, Landschaftsaufnahmen. So entstanden ganz unerwartete, zeitübergreifende Zusammenhänge, die Juergen Teller zu diesem Buch inspiriert haben. Im Unterschied zu gewöhnlichen Ausstellungskatalogen wird hier die Wirkung der Installation und Raumsituation unmittelbar abgebildet und ein neuer Blick auf Tellers Gesamtwerk ermöglicht.