Published by Steidl. Text by Tom Emerson, Roni Horn, Rick Owens, Leïla Slimani, Thomas Weski, et al.
Throughout his 35-year career, the German photographer Juergen Teller (born 1964) has been renowned for his non-conformist style, defying expectations with a unique combination of seriousness and self-irony, creating authentic narratives from his insatiable curiosity for life and the endlessly surprising world around him. I Need to Live, accompanying Teller’s major solo exhibition at the Grand Palais Éphémère, Paris, in 2023–24 and the Triennale Milano in 2024, captures the depth of his unmatched photographic achievement. In this catalog, Teller reflects upon the unpredictable circle of life, imbuing his images of loved ones with newfound poignancy. Those he has lost—collaborators and friends such as fashion designer Vivienne Westwood and gallerist Suzanne Tarasieve—share visual space with his wife and muse, Dovile Drizyte. Contributions from artists and designers Roni Horn and Rick Owens, among others, meditate upon Teller’s most intimate photo collection yet.
German photographer Juergen Teller (born 1964) has long collaborated with Dennis Freedman, creative director for W magazine and the luxury department store Barneys in New York. Between 1999 and 2016, the pair created a sweep of iconic series, all captured in Teller’s trademark realistic style. In his photographs for W, Teller resisted large-budget shoots and instead sought out authentic, anti-commercial narratives in subtle locations: as in his unforgettable first editorial in 1999 which featured Stephanie Seymour, Shalom Harlow and Naomi Campbell (among other supermodels) as office workers at the magazine. Teller and Freedman’s work for Barneys catalogs between 2011 and 2016 epitomizes their risk-taking approach in unusual fashion locations such as Belgrade, Panama City and Tirana. The resulting images reveal kooky contrasts and unexpected scenarios, as models and actors explore their environments in comic poses, producing a kind of nonconformist advertising. For Fashion Photography for America 1999–2016, Teller photographed the original W magazines and Barneys catalogs from his archives, a lo-fi method that projects the reader into his physical sifting process.
This latest photo essay by Juergen Teller (born 1964) details his visit to the compelling Hill of Crosses with his wife Dovile Drizyte and her parents in 2022. A pilgrimage and tourist site near Šiauliai, Lithuania, the Hill originated as a place of commemoration after the November Uprising of 1830–31. With his ever-curious eye, Teller captures the intense spirituality of this sacred destination. Responding to over 100,000 crucifixes within just one acre, his images embody this tangled web of religious iconography, from stone sculptures of Jesus draped in rosary beads to wooden effigies. The series takes on a deeper personal significance in the context of the recent passing of two of Teller’s most esteemed collaborators: designer Vivienne Westwood and gallerist Suzanne Tarasieve. He embeds portraits of these powerful women into his collection of symbolic images: a compelling tribute to two personalities who continue to inspire his work.
A collaboration with his wife Dovile Drizyte, The Myth is Juergen Teller’s (born 1964) playful interpretation of the “legs up” fertility myth. Following the humorous 2021 series We are Building our Future Together, in which the Tellers dressed up as construction workers on building sites, this project reflects the next stage of their relationship as they start a family together. The enchanting location is the Grand Hotel Villa Serbelloni, a hotel brimming with art alluding to motherhood and the family unit; the paintings and sculptures of pregnancy, babies, storks and cherubs figure as cheeky good luck charms for their child’s imminent birth. The Tellers created images in each of the hotel’s 97 unique rooms—in some we see the whole of Drizyte’s naked body, while in others her cropped legs or feet appear unexpectedly, peeking behind duvets, curtains and furniture, generating tender, playful juxtapositions.
This revised and expanded edition of Juergen Teller’s (born 1964) bestselling Handbags features a considered selection of images from the original 2019 book, alongside his favorite photographs made since. As before, Teller’s advertising campaigns for distinguished brands such as Coach, Dolce & Gabbana, Loewe, Saint Laurent and Vivienne Westwood are shown with images of handbags deftly styled for fashion editorials—all worn by celebrities and models or photographed as still-life objects. Teller acknowledges the visible shift toward celebrity endorsement in recent years, which has led to exciting new encounters with a multitude of actors, musicians, artists, writers and filmmakers. In his unmistakable subversive, raw style, Teller presents the ultimate fashion accessory as an everyday item rather than as a glamorized commodity, often in surprising contexts (a handbag perched atop supermarket vegetables) or with humorous intent (a bag sitting on a taxidermy crocodile). This time around, More Handbags has the compact size of a handbag itself, making it more accessible and tactile.
This is the newest book in Juergen Teller’s (born 1964) original and beloved Masters series. Teller made his first Master in 2005 as an homage to anything and everything he believes is a master—rock icon Iggy Pop, actor Gillian Anderson, football manager Carlo Ancelotti or even a simple vase of flowers—as well as a tongue-in-cheek recognition of himself as the master of his photographic identity. The concept was simple: to create an ongoing collection of humble books, each at the same small size, with no text and minimal design. Like past volumes in the series, The Master V presents an unpredictable mix of Teller’s eclectic photography: unorthodox fashion work, still lifes, landscapes, portraits or images that move between these genres. Featured subjects include chess grand master Garry Kasparov, editor-in-chief of British Vogue Edward Enninful and fashion designer Demna Gvasalia.
“I never really think of anyone as models, even the models,” Juergen Teller (born 1964) has said. It was with these beliefs in mind that Teller approached his photographs for the 2021 Best Performances issue of W magazine. Notes about My Work is Teller’s response to the feedback on this controversial portfolio. Best Performances is an annual issue of W, showcasing movie stars. In Los Angeles Teller photographed 28 actors, from Michelle Pfeiffer and George Clooney to Steven Yeun and Otmara Marrero, all posing with cars. W was delighted with the result, yet online reactions were mixed. Teller was praised as “a perfect choice” for his “aversion to excess glamour,” but also subject to much misinterpretion of his tone and methods. This book presents Teller’s selection of screenshots of some of these “notes about his work”—a mirror onto social media.
“We are building our future together,” declared Juergen Teller (born 1964) and Dovile Drizyte on their wedding invitation, the words handwritten on a photo of the couple wearing safety hats and jackets as they strike a pose on a construction site. This set the celebratory, irreverent tone for their wedding in Naples, an occasion they ensured was an unforgettable, multiday experience for their guests. Auguri is Teller and Drizyte’s uninhibited visual diary of their wedding adventure, from the ceremony to the formal dinner—where each lucky guest received an unexpected gift from the bride and groom, a ceramic plate signed and printed with a different motif from the We are building our future together series—and the night’s undeniable highlight: a delightfully dirty performance by subversive drag queen Christeene and her band.
The latest collaboration between these two seminal photographers, Leben und Tod is the culmination of their joint exhibition at artspace AM, Tokyo, in 2019. This intensely personal project concentrates on Juergen Teller’s (born 1964) series Leben und Tod (Life and Death), which reflects upon the death of his uncle and stepfather Artur, juxtaposing photographs of his mother and homeland in Bubenreuth, Bavaria, with symbolic images of fertility and life on holiday in Bhutan with his partner Dovile Drizyte.
Inspired by this series, Nobuyoshi Araki (born 1940) asked to photograph Teller’s “childhood memory objects,” items of particular emotional significance to him and his parents. Teller eagerly collected such personal gems, among them toys, a porcelain figurine and bridges made in the family’s violin workshop; the resulting images by Araki are haunting yet playful, creating an intriguing narrative alongside the original story.
This book traces the five-year construction of Plumtree Court, Goldman Sachs’ new headquarters in Central London, through Juergen Teller’s (born 1964) 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.”
His juxtaposition of final photos and collages throughout the book—seen here for the first time in his work—embodies the contrasts between past and present, order and chaos, architectural forms and the surrounding cityscape.
Published by Steidl. Text by Harmony Korine, Juergen Teller.
This clothbound volume is Harmony Korine (born 1973) and Juergen Teller’s (born 1964) visual memoir of a road trip they took ten years ago with William Eggleston (born 1939) and his son, Winston, from Memphis to Mississippi. Featuring photos and short introductions by Korine and Teller, this record of their spontaneous, intimate journey captures their love for each other through the shared experience of the American road, and combines images of gas stations, abandoned trucks, evangelical households, banal landscapes and hotel rooms with candid portraits. Certain photos cleverly re-visit Eggleston’s own famous motifs—strings of colored electric lights, road signs, people in cars—and yet the star of the show is without doubt Eggleston himself, always impeccably groomed, whether seated at the kitchen table, holding the hand of cousin Maude Schuyler Clay, or playing the grand piano.
Published by Verlag für moderne Kunst. Text by Christian Bauer, Domenico Fallacara, Elisabeth von Samsonow, Nina Tabassomi, Felicitas Thun-Hohenstein. Conversation with Elisabeth von Samsonow, Juergen Teller.
This catalog documents the performance project The Parents' Bedroom Show by Austrian artist and philosopher Elisabeth von Samsonow (born 1956), which was captured in 62 photographs by Juergen Teller.
Published by Steidl. Interview by Ewa Hess with Francesco Bonami.
On the occasion of Hans Ulrich Obrist's 50th birthday in 2018, Swiss gallery 107 S-chanf asked fellow curator Francesco Bonami to create a celebratory exhibition. Bonami's initial idea was to invite 50 artists to create 50 portraits of Obrist in an ambitious collaborative homage. Yet the idea proved a little too ambitious, and Bonami decided to create the portraits all by himself. Within just two weeks 50 oil paintings were ready—endearing and humorous works, many of which incorporate artists of the past and present, including Edward Hopper, Ai Weiwei and Georg Baselitz.
In January 2019 Juergen Teller was invited to view the exhibition 50 Times Obrist by Bonami, and with characteristic spontaneity he photographed Bonami and Obrist before each portrait. This resulting book, with Teller's photos on the left-hand pages and Bonami's paintings on the right, is an unconventional, tongue-in-cheek portrait of a portrait.
“Friends of my girlfriend were asking me what kind of a photographer I am, what I photograph,” Juergen Teller says, apropos of his latest book. “I replied: ‘Actually, come to think of it, mostly handbags.’ I always like their astonished and disappointed faces! I realized through the 30 years of my career, I photographed a hell of a lot of handbags within my fashion work.”
This enormous 600-page book of photographs of handbags depicts the accessory as you might imagine it through the lens of Teller, colorful and well lit, but nonetheless as you have never seen handbags before. Numerous models, actors and infamous individuals are featured here, including Michael Clark, Cindy Sherman, Kate Moss, Vivienne Westwood, Sofia Coppola, Tilda Swinton, John Malkovich and Victoria Beckham. Teller himself sees the book as akin to his 1999 volume Go-Sees, in its direct serial character.
Demonstrating how Teller has reshaped the field of fashion photography since he first emerged in the 1990s, Handbags will delight the aficionado of contemporary fashion and of photography alike.
Juergen Teller was born in Erlangen, Germany, in 1964. His work has been published in influential magazines such as Vogue, System, i-D, POP and Arena Homme+, and has been the subject of solo exhibitions, including those at the Institute of Contemporary Arts in London, the Fondation Cartier pour l’art contemporain in Paris and Martin-Gropius-Bau in Berlin. Teller won the prestigious Citibank Photography Prize in 2003, and from 2014 to 2019 held a professorship at the Akademie der Bildenden Künste Nürnberg. His books with Steidl include Louis XV (2005), Marc Jacobs Advertising, 1998–2009 (2009), Siegerflieger (2015) and The Master IV (2019).
Nobuyoshi Araki, William Eggleston, Boris Mikhailov, Charlotte Rampling
Published by Steidl.
This season sees the release of the newest book in Juergen Teller’s (born 1964) 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 coffee-table book.
Like past volumes in the series, The Master IV features an unpredictable mix of Teller’s eclectic photography. 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.
This, the third book in the celebrated series by renowned German fashion photographer Juergen Teller (born 1964) and Nicolas Ghesquière (born 1971), artistic director of Louis Vuitton, proves that their audacious collaboration is as alive as ever. Perhaps more explicitly than its predecessors, I Just Arrived in Paris (2014) and The Flow (2015), Juergen Teller and Nicolas Ghesquière: Season Three tells the story of a fashion collection as it evolves through photography—in this case, Ghesquière’s creations for Louis Vuitton Fall–Winter 2015/16. Divided into named chapters, the book shows the changing guise of the collection as Teller photographs it for different purposes and in individual moods: be it press-kit photos, streetscapes and still-lifes, candid bathroom scenes, backstage and runway shots, a fashion editorial for AnOther Magazine or the advertising campaign. As ever with Teller, his photos reveal an irreverent, sometimes brazen take on the world of luxury, and rethink the line between fashion and life. This monograph and unique collaboration between fashion and photography is a true collectible for all those interested in fashion photography.
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.
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.
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.
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 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: MID WINTER 2010
PRODUCT DETAILS ISBN 9781935202325TRADE List Price: $30.00 CDN $35.00
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.
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.
One of the stars of fashion photography and one of its most resolute interpreters of beauty and fashion, Juergen Teller (born 1964) is known for disregarding conventions and pointing his camera behind the scenes of glamour to reveal models in all their personality and vulnerability. 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, Märchenstüberl, which explores his and his family's roots. Taking his camera down into the basement of his parents' house, he photographed their wet bar, known among family members as the Märchenstüberl ("fairy tale corner"). Intensely reminiscent and abstractly personal, Märchenstüberl also contains selections from Teller's entire body of work, providing the first complete look at his multifaceted work.