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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

Time Out New York


Juergen Teller, “Daddy You’re So Cute”
Lehmann Maupin, through Oct 18 (see Chelsea)
By Martha Schwendener

The fine line between art and fash-ion photography isn’t so fine with Juergen Teller. Teller is a success-ful London-based fashion photogra-pher who’s worked with all the big names. But you wouldn’t mistake the photos in his current show for some-thing in Vogue or W. As Teller ex-plains in a gallery statement, what spawned these works was the revela-tion that he needed a change, “to pho-tograph someone who doesn’t care at all how they look.” In other words, he needed subjects who were willing to look ugly.

He found his quarry in a handful of famous folks who are accustomed to looking better in photographs than they do here: Kate Moss, Stephanie Seymour, Kristen McMenamy, Saman-tha Morton, O.J. Simpson. But the main subject is the photographer himself, who appears naked in a variety of buffoonish postures, compromising poses and unglamorous settings.

Ugliness, then, seems to be what distinguishes art from fashion for Teller. Art is expression and freedom; fashion is beauty and tyranny. This would make for a pretty dull thesis if Teller weren’t willing to go the extra mile—photographing himself naked, beer can in hand, at his father’s grave; capturing Kate Moss (who’s forging another career as an artist’s muse for other artists, too) pregnant and with-out makeup; and spelunking into the hidden world of pornographic-looking stalagmites.

Falling somewhere between Ryan McGinley and Wolfgang Tilmans— between hip domesticity and edgy fashion grotesquery—Teller has two main things going for him: a sense of humor and great social connections. Playfully shot and arranged, these works might not have worked with-out the added celebrity juice. On the other hand, given Teller’s generous humor and self-deprecation, they just might have.