Following the success of I Just Arrived in Paris, The Flow is the second book in the continuing collaboration between Juergen Teller and fashion designer Nicolas Ghesquière, the current artistic director of Louis Vuitton. On October 1, 2014, Teller photographed Ghesquière's Spring–Summer 2015 collection for the house, and the resulting book is a fluid mix of fashion photos and images of Paris shot while boating down the Seine. This combination of portraiture, still-life and landscape photography mirrors the eclectic influences and materials which Ghesquière synthesizes in his collections—a bold, unconventional flow whereby innovation unceasingly rejuvenates a tradition.
For a German soccer enthusiast like Juergen Teller (born 1964), Summer 2014 couldn't have been any better. The German national team won the World Cup in Brazil, and Teller was passionately present every step of the way. This new volume, Siegerflieger (literally "the victors' plane," the affectionate name given to the German team's customized jumbo) unfolds in typical diary-like Teller fashion. Yet Teller's obsession with soccer remains center stage, whether he's watching the final live on TV or welcoming home the triumphant team at the Brandenburg Gate.
Published by Steidl. Interview with Juergen Teller and Nicolas Ghesquière by Sylvia Jorif.
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.
The idea for this publication came about as an extension of the exhibition Juergen Teller: Woo!, held at the Institute of Contemporary Arts in London in 2013. In the run-up to his show, Teller was invited to curate a selection of photographs in the ICA Fox Reading Room, a confined space located away from the main galleries. His initial plan was to cover an area of wall with "tear sheets"--proof pages relating to his commercial photography. As the project developed, Teller would eventually plaster the entire space with images spanning a 20-year period, including family portraits, magazine assignments, recent ad campaigns, landscapes and various personal projects. The combined effect of seeing his images juxtaposed like this, so they formed hitherto unforeseen relationships across time, would so inspire Teller that, during the course of his show, he would passionately launch himself into the production of this book. Setting itself apart from more conventional exhibition catalogues, Woo! brilliantly relays the raw impact of the original installation, unlocking a new and exciting dialogue across an impressive body of work.
Unlike many photographers who maintain a strict divide between their commercial and private work, Teller has always combined the two. Indeed this merging is one reason for Teller's progressive edge. The Keys to the House contains recent photographs of Teller's life at and around his house in Suffolk: landscapes, portraits of family and friends. But of course Teller's vision would not be complete without the occasional fashion figure who entered his world--be it Lily Cole floating like Ophelia, or Vivienne Westwood leaning on a red Mercedes Benz.
In the summer of 2005 Steidl published a small booklet of Juergen Teller's work called The Master. It offered a characteristic examination of his own world and persona as a photographer, a mixture of fashion and commissioned works, alongside self-portraits, family photographs and scenes from his Bavarian home. The title and starting point for the book were portraits of two of his heroes, the photographers William Eggleston and Nobuyoshi Araki. The book quickly went out of print and a second edition of the The Master will now be printed alongside The Master II. The Master II comprises his recent body of work Ukraine, in which he chose to employ the city of Kiev as the setting for a fashion shoot, mixing fashion, still-lives of the city and portraits of ordinary people as a way of representing his own fantasy of a country marked by a brash youthful energy and an obsession with capitalism.
The Teller family business produces small parts for string instruments. Juergen Teller has taken photographs of company employees, his uncle and his uncle's collection of hunting trophies. He has also shot pictures in dripstone caves, of Kate Moss during her pregnancy and of himself. In the world of Juergen Teller, it somehow all fits together. Werkstatt--a studio or creative environment--collects, as Juergen Teller does, people and places. It combines scenes from the world he grew up in with selections from the world of beautiful images that he travels in today. Candid, subjective and completely without superficial affect, Teller offers a peek or two into his world. How it all fits together is left up to the viewer.
Published by TF Editores/D.A.P. Text by Adrian Searle, Paul Wombell, Helmut Teller, Fabrice Paineau, et al.
Foremost among a generation of photographers operating between fashion photography and art photography, Juergen Teller (born 1964) brings his energized, life-loving brashness to family photographs, self-portraits and fashion shoots. Teller often provokes his subjects to extremes of expression, as critic Adrian Searle records in this, Teller’s newest monograph: “I kept wondering when he was going to get round to taking my photograph. The tension was unbearable. I felt like a girl on an unsuccessful date. The next thing I know he’s almost climbing over the table to get at me. There’s a camera in my face and he’s shooting picture after picture after picture, looming closer with each shot… There’s a gleam in his eye and a smile and there’s something relentless about his advances.” Teller applies this lust for encounter and complete involvement to the production of his books, and the beautifully printed Calves and Thighs is no exception: “I consider this catalogue a piece of my work,” he writes, having carefully determined the photographs (all new work), the authors and the design. Alongside Teller’s latest photographs, collaborators, friends and admirers such as Nobuyoshi Araki, Sadie Coles, Roni Horn, Marc Jacobs, Karl Lagerfeld, Helmut Lang, Charlotte Rampling, Adrian Searle, Gerhard Steidl, Neville Wakefield, Vivienne Westwood and Raquel Zimmermann pose questions to Teller about his process, his career and his life.
PUBLISHER TF EDITORES/D.A.P
BOOK FORMAT Flexi, 6.75 x 9.75 in. / 172 pgs / 98 color.
PUBLISHING STATUS PUB DATE 10/31/2010 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: MID WINTER 2010
PRODUCT DETAILS ISBN 9781935202325TRADE LIST PRICE: $30.00 CDN $35.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Steidl. Photographs by Juergen Teller.
Juergen Teller spent a year carrying out a study of the Reichsparteitagsgelande, the site of the notorious Nürnberg rallies, and a place he used to visit in his youth. The results are a series of meditative images of stone and flora, photographed over the four seasons of a year, in seed, bloom, demise, and, finally, dormant in the snow. It amounts to a study of mortality, the process of birth, growth and death. The book combines these works with self-portraits and family photographs through the same period, adding the perspective of the personal and quotidian life cycle to a site that has world-historical importance.
Published by Steidl. Photographs by Juergen Teller.
Juergen Teller's new book features black-and-white stills from a video that recorded him while he watched last year's World Cup Final between Germany and Brazil, live. Describing it as “the most disturbing thing I have ever seen” and shocked by the pure animal instincts it reveals, Teller offers us extraordinarily cruel yet mesmerizing self-portraits of himself shouting and swearing during the TV match commentary. Also included are other self-portraits, together with shots of football celebrities and images of Teller's family, among them one of his mother at his father's grave. Teller explores his subjects with equal intelligence and wit, be they celebrities, family, or friends, in striking and provocative ways. Nackig auf dem Fussballplatz--Naked On the Soccer Field, for those of you who couldn't guess--is an extension of his previous work with portraiture and self-portraiture. In it he uses football as a vehicle to explore aspects of his personal life, and in particular to reflect on his relationship with his family.
Published by Steidl. Artwork by Tracey Emin. Photographs by Juergen Teller. Edited by Ute Eskildsen. Text by Ulrich Pohlmann, Ulf Poschardt, Neville Wakefield.
One of the stars of fashion photography and one of its most resolute interpreters of beauty and fashion, Juergen Teller is known for disregarding conventions and pointing his camera behind the scenes of glamour to reveal models in all their personality and vulnerabiliy. Teller serves the world of the beautiful, but with a critical, personal eye. In his last book, More, he collaborated with supermodel Stephanie Seymour, photographing her in her three lavish homes, surrounded by her art collection, her home furnishings, her property and her unexpectedly hilarious, bare-all, exaggerated attitude. This examination of the private sphere led Teller to produce his most recent series, Märchenstberl, which explores his and his family's roots--literally. Taking his camera down into the basement of his parents' house, he photographed their wet bar, known among family members as the Märchenstberl (“fairy tale corner”). Intensely reminiscent and abstractly personal, Märchenstberl also contains selections from Teller's entire body of work, providing the first complete look at his multifaceted work.