I didn’t want to carry it with me anyway. It was heavy and you had to carry films. Iwanted to be free with just acouple of clothes and go as far away as possible from my parents, as you do when you’re young. Juergen Teller (born 28 January 1964) is a German fine-art and fashion photographer. He was awarded the Citibank Prize for Photography in 2003 and received the Special Presentation International Center of Photography Infinity Award in 2018. 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. At times it’s only small details that link the original to the children’s vision, but then those details are exactly what the children liked most about the photo…’ Christina Busch (Teacher, Grundschule Bubenreuth, Erlangen), ‘Juergen Teller Means Dirty Walls’, POP Magazine, Summer 2017. Tozer, John (1 December 2014). "Juergen Teller: "Go-Sees" (2000)". Contemporary Visual Arts . Retrieved 12 January 2021.

Captured in and framed by the doorway of the artist’s studio, the subjects of the series are depicted in several guises; confident, shy, hopeful, disengaged, relaxed, energetic, and casual clothing. Transgressing the fashion industry and fine art, the images, just like all other of Teller’s work, are never retouched. Teller’s snapshot skills and spontaneous, as well as the unusual angles, defer from the refined visual protocols so closely connected with the extravagance world. Faces Now: European Portrait Photography Since 1990, BOZAR Centre for Fine Arts, Brussels, toured to Nederlands Fotomuseum, Rotterdam, and National Museum of Photography, Thessaloniki, Greece (2015-2016)

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Werkübersicht::: Sammlung Museum für Moderne Kunst Frankfurt am Main". Museum für Moderne Kunst . Retrieved 12 January 2021.

Céline Fall Winter by Juergen Teller". Design Scene - Fashion, Photography, Style & Design. 22 August 2010 . Retrieved 13 November 2018.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. Juergen Teller - National Portrait Gallery". National Portrait Gallery . Retrieved 12 January 2021. Juergen Teller is a UK-based German fine art and fashion photographer. Throughout his career, Teller often blurs the lines between his personal and commissioned works in his campaigns, publications, editorials, and exhibitions. Go Sees

Still, there’s something special about aTeller nude: the natural light, imperfections on the skin that are left untouched, the occasional brutality of his lens. His nudes are never stylised; always candid. ​ “I guess one is attracted, simply, to flesh. To the colour of the skin, the muscles… it’s interesting how abody functions,” he says. I don’t have this ideal and I’m not pushing some rigid agenda that you have to be retouched to make abeautiful picture, or that you have to get acosmetic job to make alot of money. That was never my agenda. I’ve always photographed anybody on anything,” he says, vehemently. If attempts to position Teller’s Go-Sees within existing recent histories of snapshot photography, the most – or perhaps the least – obvious comparison one could make is to Gillian Wearing’s Signs that say what you want them to say and not signs that say what someone else wants you to say. In this well-documented series Wearing gave white card and felt markers to anyone on the streets who cared to take them, inviting people to write whatever they wanted on the card. When they had finished she photographed them holding their messages. In a sense Wearing, like Teller, exploited the individuals as a resource; but unlike Teller’s subjects, Wearing’s have a voice. Teller’s go-sees are effectively rendered speechless inasmuch as the only language they are allowed already belongs to the world of fashion. In the real world they are reduced to little more than silent, consumable, coffee-table titillation. Made over a twelve-month period, Go-Sees is a collection of photographs that depict the hundreds of women and young girls who called at Teller’s studio for an informal meeting in the hope of securing the modeling contract that would lead to fame, fortune and a life of ‘glamour’. Teller remembers some of the girls turning up with their pushy, overly ambitious parents, shuffling these kids along, wanting to sell them off – brutally speaking.In 1997, Marc Jacobs worked with Teller's then-partner, Venetia Scott to style his collections and Teller shot Kim Gordon from Sonic Youth for the Spring Summer 1998 campaign. [6] Juergen Teller in Haarlem, 2003 Searle, Adrian (4 February 2003). "The Citibank photography prize, Photographers' Gallery, London". The Guardian . Retrieved 13 March 2019. We just got married in Naples,” he says, as his new wife and creative partner, Dovile Drizyte, types away on aMacBook at the far end of the table. ​ “Then we went on our honeymoon. We rented acar and drove down to Calabria, stayed in three different places and then Sicily for aweek. It was excellent.” That explains the tan, then.

One could also place Go-Sees within the ‘stolen’ Metro photographs of Luc Delahaye, the ‘street photography’ of Garry Winogrand, or the mercilessly non-judgmental studies of the British working classes by Martin Parr.Framed by the doorway of Teller’s studio, the Go-Sees are depicted in many guises: shy, confident, hopeful, disengaged, energetic, relaxed, and in casual clothing. Transgressing fine art and fashion photography, the portraits, as with all of Teller’s other work, are never retouched. Teller’s snapshot style and spontaneous and unusual angles defer from the polished visual protocols so closely associated with the luxury world. The result is a series of no fewer than 462 photographs, which, having previously been published in book-form, are now on display as part of a new exhibition at London’s Alison Jacques Gallery, entitled Juergen Teller: Go-Sees, Bubenreuth Kids and a Fairytale About a King. Many of them feature the front door or pavement outside Teller’s West London studio – models smile, or look down at the floor awkwardly, or crouch, or perform gymnastics with teenage enthusiasm, in a refreshingly candid and spontaneous portrait of the reality of model life. And while there are some superstars in the mix – don’t miss a young Shalom Harlow, for example – mostly what Teller documents so adeptly is that strange and slightly surreal rite of passage which places young women in front of the lens, passive and bemused. Juergen Teller is tanned, smiling and wearing his trademark neon short shorts (today, they’re hot pink), sitting before ahuge wooden table in his West London studio. There’s alot of concrete here. The walls are smooth and greyish, and the floors are shiny and polished. The ceilings are high – still concrete – and his work is everywhere. Individual photographs line atable that’s twinned with the one we’re sat on, arty books are piled on abookshelf and agiant plate printed with aself-portrait of Teller holding ababy leans against one wall. Teller was Professor of Photography at the Academy of Fine Arts in Nuremberg from 2014 to 2019. [18] Curating [ edit ]