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Juergen Teller

PRESS

Purple Magazine

September 24, 2016

News

Juergen Teller & Xiang Jing Champ Magazine

September 30 2015

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Baccarat

June/August 2015

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Musée Magazine

November 2014

News

Artinfo Shock of the Nude: Juergen Teller Photographs Go on View at the ICA

February 6, 2013

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London Evening Standard

January 23, 2013

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Artinfo

January 22, 2013

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The Guardian

January 5, 2013

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Artforum

January 2013

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Style.com

September 12, 2012

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Style.com

March 30, 2012

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Nowness

February 20, 2012

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Artinfo

February 13, 2012

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New York Magazine

February 11, 2012

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Vogue

February 9, 2012

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Harper's Bazaar

February 8, 2012

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Hint Magazine

January 31, 2012

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Dallas Contemporary

August 31, 2011

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T Magazine

July 28, 2011

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Dallas Observer

May 19, 2011

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The Block

January 20, 2011

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New York Times

January 11, 2011

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W Magazine

October 31, 2010

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Artforum

December 3, 2009

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The New York Times

September 25, 2009

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Vanity Fair

September 21, 2009

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The Moment: The New York Times Blog

September 1, 2009

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W

August 31, 2009

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New York Magazine Straight Shooter

August 17, 2008

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The New York Times

April 10, 2008

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Modern Painters

March 1, 2006

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Women's Wear Daily

January 17, 2006

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Artforum

January 1, 2005

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Time Out New York

October 9, 2003

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Art Newspaper

September 18, 2003

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The Observer

September 14, 2003

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Financial Times

September 5, 2003

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Independent Magazine

September 1, 2003

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i-D Magazine

September 1, 2003

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Observer Magazine

April 6, 2003

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American Photo

January 1, 2002

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i-D Magazine

November 1, 2001

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W

July 1, 2000

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Time Out New York

June 22, 2000

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New York Times

June 4, 2000

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Contemporary Visual Arts

June 1, 2000

Artinfo

Shock of the Nude: Juergen Teller Photographs Go on View at the ICA

February 6, 2013

By Chloe Wyma


To anyone who has opened a magazine in the last ten years,  Juergen Teller’s subjects are a familiar sight: Kristen McMenamy partying sans pants in gilded McMansions, a Botticellian Lily Cole frolicking au naturel in wooded hinterlands, hot young things collapsing in opioid dishabille on bed sheets and in bathtubs.


Teller is having quite the moment. For the February issue of W Magazine, the German photographer shot 33 celebrities in his signature washed-out style. Meanwhile, “Woo!,” a current survey of Teller’s work at the ICA in London is showering institutional validation on his genre-straddling career, calling him “one of the most important photographers of his generation.” Indeed, Teller’s influence on visual culture can’t be overstated. His overexposed, oversexed, pseudo-naive brand of portraiture has influenced Dash Snow, Terry Richardson, and Ryan McGinley, not to mention countless unsigned American Apparel advertisements and the propagating multitudes of derivative Instagram snapshots.


“Intimate,” “edgy,” “frank,” “provocative,” “raw,” are words frequently associated with Teller’s name in fashion journalism. His washed-out, strategically off-kilter photographs cultivate an air of unidealized, unaffected authenticity. Vivienne Westwood posing like a coquettish Olympia on a brocade divan; Charlotte Rampling holding naked court in the sculpture garden of the Louvre; and deadpan, dead-eyed Cindy Sherman wagging a flaccid tongue behind retro-ugly glasses deserve applause for flouting the ephebic, airbrushed standards of beauty found in the pages of glossy magazines. And yet, for all its well-intentioned soft transgressiveness, Teller’s work can lapse into seventies-porn hipster clichés and cheap sensationalism. See, for example, his banned campaign for Marc Jacobs' “Oh Lola” fragrance, starring Dakota Fanning as a latter-day Nabokovian nymphet, posed with a suggestive flower-shaped perfume-bottle between her underage thighs.


Artforum’s Jeffrey Kastner called Teller a practitioner of “consumerist erotica.” Indeed, he’s the master of it. Teller’s studied rawness has mutated into a mannered and programmatic anti-art that — through its alchemical association with commodity, celebrity, and capital — entrenches an abject, degraded species of glamour. Like many artists, Teller is eager to distance himself from too much critical interpretation of his work. In a recent interview with Artinfo UK, he declared, “People take the whole thing far too seriously. It’s just a fucking photograph.” It never really is.