Juergen Teller: Go-Sees: Girls Knocking on My Door

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I thought it was a weird idea – girls coming to see me as a man. I wanted to do it for one year and see what happened. In a way, that was my first conceptual project. There are touching, almost diaristic moments in the book, too. One particularly striking image sees Teller standing naked by the grave of his dad, who took his life in 1988. They had aturbulent relationship, with his dad being aheavy drinker and abusive to his mum, who Teller was very close to. His dad was very musical, playing five instruments, while his mum was sporty, well into football. He got the sporty side from his mum, not so much the musical stuff. Captivate! Fashion Photography from the 1990s. Curated by Claudia Schiffer, Kunstpalast, Dusseldorf, Germany (2021)

Infinity Award: Special Presentation — Juergen Teller". International Center of Photography. 14 February 2018 . Retrieved 13 March 2019.Poem on the Inner Sea at the 52nd Venice Biennale / PinchukArtCentre". PinchukArtCentre.org . Retrieved 13 March 2019. Zwei Schäuferle mit Kloß und eine Kinderportion Schnitzel mit Pommes Frites. Göttingen: Steidl, 2003 Since the beginning his career in the late 1980s, Teller has blurred the boundaries between his commissioned and personal work in his numerous campaigns, editorials, publications and exhibitions. Teller treats all of his subjects — family members, celebrities, and himself with a uniform style of grit, raw emotion and humour that has become his iconic and recognizable aesthetic. [3]

The girls appear not quite as models or even as ‘normal’ young people but as something somewhere in between. The glamour world’s form of idealized beauty, which some of the girls approximate more convincingly than others, is a fiction, an abstraction and a fantasy, and it is impossible to say who is most seduced by this absurd ideal – men, women, or the girls themselves. Clearly these girls wish to be beautiful, and to be recognized as being beautiful, but this beauty is itself little more than a construct that has evolved from an economy of production and consumption based less on aesthetic universals than on culturally overdetermined aspects of desire. Teller himself is deeply occupied within this same world despite the quasi-art-status his artworks have achieved in the art industry. The art industry is also known for its greediness for pieces, as is the ‘low’ culture to which it used to oppose. Werkübersicht::: Sammlung Museum für Moderne Kunst Frankfurt am Main". Museum für Moderne Kunst . Retrieved 12 January 2021.In 2017, Teller’s mum called him up and said something really strange happened. The school teacher from said primary school had called her up to say that the children, aged between six and seven, were really interested in talking to her about her son. ​ “They were so excited about my photography and they were doing aschool project,” he says. ​ “I said to my mum, ​ ‘this sounds really strange but really interesting…’”So Teller flipped the whole thing on its head. Rather than his mum going down to the school to speak to the kids on behalf of her son, he surprised them and dropped by himself. Though we are aware that the photographs belong to a real narrative that involved Teller and his visitors, the visual aspect of the girls – what we see when we look at them – are overwritten by the codes that govern our readings of a femininity mediated by the fashion industry. Teller’s photographs are not portraits in the sense that they seek to describe the individuals depicted, as the various Rebeccas, Giseles, Hannahs, Ninas, Naomis, Saskias, Zanettas, Jades, Charlottes, Saffrons and Juliettes all look the same – all conform to a limited notion of modelhood, all have the same look of rueful candour, slightly tainted by a vague awareness of the voyeuristic lechery of the camera lens. Céline Fall Winter by Juergen Teller". Design Scene - Fashion, Photography, Style & Design. 22 August 2010 . Retrieved 13 November 2018. AnOther (24 November 2017). "When Juergen Teller Photographed 1990s Go-Sees". AnOther . Retrieved 12 January 2021. This book traces the five-year construction of Plumtree Court, Goldman Sachs’ new headquarters in Central London, through Juergen Teller’s inimitable vision. Teller relished immersing himself in such a long-term project, one thrillingly different to the fashion world he knows so well. From the rising walls of reinforced concrete and lattices of scaffolding, to the sparkling glass facades and gleaming interiors of the finished building, Teller became obsessed with recording intricate details within the larger shifting context: “I liked the diggers, cranes, cables, concrete and dirt. Not in a macho or childish way, but appreciating how all this construction work produces such a beautiful mess.”