Visual Essay - Juergen Teller by Izzy Plummer

Image 1: Dakota Fanning for Marc Jacobs Lola Perfume (Teller, 2011)

J U E R G E N

TELLER

Isobel Plummer Word Count: 2728

CON T 01

INTRODUCTION

THE AESTHETICS

ANTI-PERFECTION

ARTIST AND MODEL

IN COLLABORATION

CONCLUSION

LIST OF ILLUSTRATIONS

REFERENCE LIST & BIBLIOGRAPHY

E NTS.

INTRODUCTION Juergen Teller is widely considered to be one of the most influential and distinctive photographers of his generation, throughout his career Teller has successfully navigated the art world with his un-commissioned autobiographical images as well as the world of commercial fashion photography within which he has worked with and maintained long lasting connections to brands and designers such as Marc Jacobs and Vivienne Westwood. Since the late 1980â&#x20AC;&#x2122;s and early 1990â&#x20AC;&#x2122;s Teller has been a huge influence on the world of photography, this essay will be an exploration of his works; looking at and analysing the recurring styles and themes that are key in making it so powerful, this is including but not limited to; playful realism, intimate content and a sense of attitude and voice. These themes will also be studied in a way that considers their impact and effect on society, culture and fashion marketing and branding, as his work touches on issues that are prevalent and huge influences on the visual landscape we see today, such as concerns surrounding the unattainable standards of beauty evident in the fashion industry.

Image 2: Vater Und Sohn (Teller, 2005)

THE AESTHETICS Image 3: Isabella Huppet 2 (Teller, 2006)

A sense of realism is a major theme running throughout Juergen Teller’s photography, this is seen in the raw way in which he captures his images. The flash is always bright and the photographs are snapped quickly and constantly which gives them a natural and almost home photo album look as they are not overly posed like many glamorous editorial shoots are, but instead they are more caught in the moment. Isabella Huppert described in an interview (Teller et al., 2006, p.122) what it feels like to be photographed by Teller “He shoots constantly (...) That’s how he manages to capture those completely uncontrolled moments because he literally traps you in his camera. Sometimes you want to cough or blow your nose or whatever, and then he shoots. That’s how he gets those intimate moments, those unconscious movements of the body and mind.” This shows how Teller manages to get an honest feeling within his photographs, as his models often don’t have a second to think about what they look like. The settings he chooses are also habitually quite plain and not over-thought, for example in images 3 and 4 Isabella Huppert is seen lying in bed which is quite a natural and unextravagant location. By doing this Teller has intentionally made it feel like he has

stumbled upon her, this gives the viewer the impression it is a snapshot in time rather than a meticulously planned photoshoot on an overblown set, his scenarios are carefully constructed but are made to appear casual (Kismaric and Respini, 2008, 41). Additionally, Juergen Teller applies strictly no post-production retouching to his photographs, which continues the theme of realism, this is rare in the world of fashion photography where editing often goes to the extreme, for example removing blemishes and altering body shapes. In response to this glossy style of fashion photoshoots, for a magazine interview (Larocca, 2008) Teller stated “I just turn the page, it doesn’t really interest me very much. My work has nothing to do with that…it’s something real. I’m for the individual human being, not some plastic figure some gay guy though out.” Teller’s models can expect to be presented how they truly are instead of an overly edited and idealised version of themselves. This demonstrates that getting across a sense of who the person is or some aspect of their personality is an important part of Teller’s photography and so the individuals he chooses to shoot are always people he has an interest in, this ranges from using family members for a jewellery campaign (Millard, 2006) to celebrities who capture his attention, in regards to this Teller has commented “We’re interested in people, not just 16-yearold models, because everybody can look glamorous (…) We want to photograph the character, not just sell - we’re trying to sell an idea of somebody who does something interesting.” (Smyth, 2012, pp. 40-41)

Image 4: Isabella Huppet 2 (Teller, 2006)

Image 5: Young Pink Kate (Teller, 1998)

The 1990’s was a significant time in Juergen Teller’s career, fashion photography at the time consisted of a slick and glossy aesthetics before Teller emerged with his idiosyncratic eye to shake things up and shape the nineties as the decade of grunge hedonistic realism, this is in complete contrast and a rebellion against the staged tableau which previously dominated the fashion world as the 80s embodied a culture of excess with wealth and success being celebrated in abundance (Glaviano, 2015). Teller was also one of the first, along with Corinne Day, to photograph Kate Moss who is now one of the most iconic and recognised supermodels in the world. However, by the standards of 80s fashion Moss was considered an unconventional beauty with her uneven teeth, small breasts and petite stature, this shows how as photography styles evolved from the glamorous 80’s, so did the look of models; together this collectively created the general visual language of the 1990’s. Juergen Teller’s first commissioned works were not, however, for fashion purposes, instead he photographed

musicians. In 1991 he toured with a then unknown Nirvana but as the band’s popularity surged so did Teller’s, and this can be in some way credited to the initial widespread recognition of his work (Galerie Rudolfinum, 2016). The switch from music to fashion photography came for Teller because he questioned why there should be a stylistic difference between the portrait of a musician and the portrait of a model for a brand or magazine which is why he experimented with photographing commercial images in his own ‘snapshot aesthetic’ (Glaviano, 2015) style which, as previously demonstrated, was new and exciting for the time. His fashion photography in the 1990’s is marked by a desire to get across a narrative similar to how he might in his art and music photographs, instead of solely showing an item of clothing on a model. This can demonstrate how his work influenced the transition for fashion photography to no longer be confined to the commercial codes of magazines but, rather, have social and cultural influences beyond fashion (Kismaric and Respini, 2008, p.45).

Image 6: Kate Moss For British Vogue 1 (Teller, 1994)

Image 7: Kate Moss For British Vogue 2 (Teller, 1994)

“I’m for the individual human being, not some plastic figure some gay guy thought out” -Juergen Teller-

(Larocca, 2008)

Image 8: Kurt Cobain, Berlin (Teller, 1991)

Image 9: Go-sees 1 (Teller, 1998)

Image 11: Go-sees 3 (Teller, 1998)

Image 10: Go-sees 2 (Teller, 1998)

Agencies sent hundreds of girls to Teller’s doorstep in the hope that he’d discover the next Kate Moss, this demonstrates his influence as a photographer in the 1990’s.

Image 12: Go-sees 4 (Teller, 1998)

ANTI-PERFECTION Juergen Teller’s work can be argued to have had a social and cultural impact in the way that he presents women in his photographs as the style of his work plays into ideas of body image. As previously mentioned, he does not retouch his images and so this allows viewers to look at his photographs and see a ‘real’ representation of women which fights the unattainable standards of beauty that people in society are subjected to on a daily basis within advertisements and the media. Image 13 shows a controversial photograph Teller took of the model Kristen McMenamy in 1996 which gained international recognition for the shock that it caused, with the crudely drawn heart on her chest referencing Versace cancelling her for a campaign, the image is striking and conveys a strong attitude and voice from both model and photographer, Nick Knight (2014) has commented in response to the photograph “It was a really important moment in fashion photography, and it was a really important moment in modelling because (…) they were both honest and straight, and said actually ‘I look great in this, why shouldn’t I?’ and that attitude was so rock and roll.” In the image bruises and abrasions are visible, one criticism this has presented from the wider media is that it promotes a culture of drugs and violence as his photography has sometimes been labelled as ‘heroin-chic’ and ‘anti-fashion’ “models have been photographed in what look-like post-rape and abuse scenarios (…) A number of photographers, including Teller (…), have pictured models and celebrities as if they are dead.” (Rhodes, 2008, p.205) However his intention was more to show an hon-

Image 13: Kristen McMenamy Versace Heart (Teller, 1996)

est portrayal of someone who is conventionally displayed as flawless in the media, this is indicated by his continued use of a variety of models who do not embody societies definition of perfection “The body is great because they feel good about it, not because it’s perfect” (Teller, 1996, p.9)

Image 14: Kristen McMenamy For 032c Magazine 1 (Teller, 1996)

Image 15: Kristen McMenamy For 032c Magazine 2 (Teller, 1996)

“This beauty ideal is everywhere, you can’t escape it” -Juergen Teller-

(Gell, 2000)

Image 16: Kristen McMenamy for Marc Jacobs Fall Campaign (Teller, 2005)

Image 17: Vivienne Westwood Spring/Summer (Teller, 2008)

Image 18: Vivienne Westwood Nude 1 (Teller, 2009)

“This beauty ideal is everywhere. You can’t escape it –TV, wallpaper, posters, billboards, magazines. They put on these crazy perceptions about what people should look like. It’s really shocking the way everybody is striving for this one thing, this ultimate beauty, but what is it?” (Gell, 2000) This quote from Teller illustrates how he does not intend to present societies beauty standards within his own work as it is not tangible or genuine. Nudity is a common theme running throughout Juergen Teller’s portfolio, however it is not used in a pornographic or objectifying way, rather, it is used in many cases to make a statement. Image 16 shows an additional photograph of Kristen McMenamy for a 2005 Marc Jacobs photoshoot, within the image she is lifting her skirt to reveal her body beneath. It is a shocking and graphic image but with it Teller is trying to convey a point about how women are dehumanised in the fashion industry and that they are not just mannequins to be posed at will; underneath the gold dress is a real woman (Kids of Dada, 2017), Teller uses nudity to get this point across as, to him, it shows us how

we truly are “Nudity is the most natural form of how you are” (Dance, 2015). Images 17, 18 and 19 show Vivienne Westwood modelling for Juergen Teller, these photographs further the argument of how he is opposed to the medias ideals of beauty and is anti-perfection in his photography. The images do this by the fact that Vivienne Westwood is the designer, and by using a non-model for his photographs he is exhibiting his beliefs that the most important thing is who the person is and has stated in interview (Smyth, 2009, p.21) that he is not “motivated by the cache of celebrity, arguing they use artists, directors and musicians because they’re interested in what people do, not what they look like.” For example, image 17 was taken for Westwood’s own label ad campaign for Spring/Summer 2008 and he could have easily used a young and stereotypically beautiful model but that would have no significance, using Westwood herself is much more interesting as her life and personality come through in the photographs. For a personal project, Teller also shot a series of photographs of Vivienne Westwood posing nude, which can be

seen in Images 18 and 19, which continues the theme of nudity but also by using Westwood, who was 68 at the time, he has created a striking and powerful image that fights beauty ideals and ageist stereotypes as the pictures suggest that someone who does not fit in to societies specifications of what is attractive can still be beautiful and can still pose naked. In relation to the series, Teller (Needham, 2013) has commented “There should be nothing shocking about it apart from that she looks so beautiful and that she’s so comfortable and open with herself… I think people should be like that. She also looks in a way like a seductive teenager” once a woman hits a certain age it does not suddenly mean she should be hidden away or ‘wrapped up in a blanket and plonked in front of Downton Abbey’ (Needham, 2013). These examples have shown how Juergen Teller’s work impacts society as they do not conform to the expected and instead shows people it is okay to be who they are and even supermodels have flaws, he is presenting within his work a more attainable idea of beauty. His work can be said to have paved the way for brands today which have started to incorporate more diversity into their ad campaigns, this includes companies such as Dove. Rankin shot for their 2005 ‘Campaign for Real Beauty’ which focused on six ‘real’ women, sending the message that overweight or older bodies are no longer to be feared or shunned (Rhodes, 2008, p.206). There are similarities between the message in this and the meaning which can be connoted in Teller’s portraits of Vivienne Westwood.

Image 19: Vivienne Westwood Nude 2 (Teller, 2009)

ARTIST AND MODEL A further area which sets Juergen Teller apart from other photographers is his practise of going beyond the lens and starring in his own photographs, this allows him to better understand the process from the subject’s viewpoint, he has indicated this in interview (Pearson, 2007) as he said he “wanted to feel what it’s like to be pho-

tographed—to look at myself the way I’d looked at other people.” By offering himself up and becoming vulnerable in front of the camera, his other models are more inclined to be more open and adventurous themselves, this allows him to get so much authenticity in his photographs as the subjects trust him.

Image 20: Self-portrait Daisy Perfume (Teller, 2010)

Image 21: Sofia Coppola for Marc Jacobs Fragrance Campaign (Teller, 2001)

Teller has done this all throughout his career, allowing parts of his body to be seen within the finished image, an example of this is presented in image 21 where he has allowed his feet to float into view in a photoshoot with Sofia Coppola. Marc Jacobs (Larocca, 2008) has commented “I’m so used to seeing Juergen’s body parts, when he shot Sofia [Coppola] for the perfume ads, his toes are in, like, every shot.” This is also linked to Teller’s non-commercial autobiographical images which explore different elements of his life, the series “Nurnberg” shows a place he used to visit in his youth, the images were taken over a period of a year and display the coming and going seasons; in seed, bloom, demise and finally dormant in snow, the images are combined with family photographs during the same period (Cole, 2006). It is possible to use semiotic theory to the series of images as it can be denoted that they are displaying a life cycle of birth, growth and death in relation to the plant life, however, it is possible to connote that the images relate personally and he is using photographs to comment on the mortality of himself and his family, the site of Nurnberg has connections to Nazi rallies in World War II which adds significance, the images offer a moving reflection on cyclical renewal and health (Anon, 2006). By starring in his fashion photography works he gets across a similar level of intimacy to these non-commercial

works where he presents his own ideas and thoughts, although in a different way, this is shown by Teller’s refusal to separate the two types of photography as he combines them together within exhibitions, such as his show ‘Woo’ at Image 22: Nurnberg Spring 3 (Teller, 2005)

Image 23: Nurnberg Autumn 2 (Teller, 2005)

the ICA where he displayed a number of commercial images from all throughout his career but also included his series â&#x20AC;&#x2DC;Irene Im Waldâ&#x20AC;&#x2122; which depicted his mother in a forest close to where he grew up (Teller, 2013). Image 24: Nurnberg Summer 10 (Teller, 2005)

Image 25: Nurnberg Winter 10 (Teller, 2005)

Teller managed to even get his individual voice across when photographing of Kim Kardashian and Kanye West, he found it difficult to work with stars who wanted so much control and so in response to this he inserted himself into the series and named it ‘Kanye, Juergen & Kim’ Teller commented (Hingham-Stainton and Dazed, 2016) that he put himself in the photos “as a reaction to the final pictures. And as a reaction to having had to deal with

the immense power of control. I don’t really like being controlled by anyone.” The results show a juxtaposition of a carefully styled Kim and Kanye against a much rougher image of Juergen Teller doing all the things the A list couple refused “These Hollywood people are so careful of their image and looking right, but there’s a wildness when I come into the photographs. I just want to wade through rivers, climb mountains. And I prevail.” (Blanks, 2015)

Image 26: Kanye, Juergen and Kim 1 (Teller, 2015)

“These Hollywood people are so careful of their image and looking right, but there’s a wildness when I come into the photographs” -Juergen Teller-

(Blanks, 2015)

Image 27: Kanye, Juergen and Kim 2 (Teller, 2015)

Image 28: Kanye, Juergen and Kim 3 (Teller, 2015)

Image 29: Kanye, Juergen and Kim 4 (Teller, 2015)

IN COLLABORATION In his work with brands Teller chooses only to work with those that allow him creative freedom and whose ideas align with his own instead of having his off-centre grunge style cleaned up and controlled by mainstream fashion, this links back to how he felt on the Kim and Kanye photoshoot. Helmut Lang is one such designer that worked harmoniously with Juergen Teller; in relation to the partnership Lang has said â&#x20AC;&#x153;Juergen has a very strong individual voice, which is a rather rare accomplishment these days. I love his ability to say out loud what other people are afraid to even think. It was natural to have him express the soul of my work,â&#x20AC;? (Larocca, 2008).

Image 30: Backstage at Helmut Lang Fall/Winter Fashion Show (Teller, 1997)

Image 31: Fall/Winter Helmut Lang Campaign (Teller, 1999)

Image 32: Spring/Summer Helmut Lang Campaign (Teller, 2004)

â&#x20AC;&#x153;I love his abiltity to say out loud what other people are afraid to even thinkâ&#x20AC;? -Helmut Lang-

(Larocca, 2008)

34 12

Image 33: Dakota Fanning for Marc Jacobs (Teller, 2007)

However, Teller’s longest standing relationship with a designer exists with Marc Jacobs, the two have worked together since 1998 and the campaigns produced by the brand are a complete collaboration between photographer and designer “I love working with Marc because it’s very instinctive, very spontaneous, and the ideas are pretty 50-50 as to who we think we should use (..) There’s constant discussion about where we should go, but once we’ve established who we want to shoot, he really gives me free range.” (Smyth, 2012, p.40). Because Juergen Teller has photographed for Marc Jacobs for so long the two have become synonymous as he has helped shape and build up the image and ideas that they project into the world therefore his imagery has had an immense impact on what the brand represents. A famous campaign from 2008 featured Victoria Beckham and consisted of her being placed inside a huge Marc Jacobs bag, in one photograph (image 35) you can’t even see her face at all as her legs just dangle out. This campaign demonstrates the humour in Juergen Teller’s photography and, like how he does with body image, his tendency to make social commentaries within his work. This is established, as meaning can be connoted from the significant use of Victoria Beckham as she was at the time one of the most photographed women in the world with a vast amount of self-promotion surrounding her (Smyth, 2009, p.25) and so by putting her inside a shopping bag he is

Image 34: Victoria Beckham for Marc Jacobs 1 (Teller, 2008)

making an observation on how she has become a piece of merchandise in the media “Victoria is kind of a product of her own making, so Marc and I had the idea of making this oversized shopping bag and putting her in it. She knew exactly what we were trying to do, she was in on the joke. It wasn’t like we were laughing at her.” (Smyth, 2009, p.23)

Image 35: Victoria Beckham for Marc Jacobs 2 (Teller, 2008)

Image 36: Victoria Beckham for Marc Jacobs 3 (Teller, 2008)

Image 37: Charlotte Rampling for Marc Jacobs (Teller, 2004)

Teller’s photoshoot with Charlotte Rampling (images 37 to 41) is another notable campaign as he takes his ideas to the extreme. The pair star together in the bizarre collection of images in which Teller can be seen stripped down in a variety of intimate poses with Rampling. This campaign is worlds apart from what you might see from the usual product-focused high fashion ad campaigns, by using himself and Rampling he is yet again defying conventions of age, beauty standards and expectations of masculinity “For me it was important that an over-60 woman is in a high-class fashion ad, or whatever you call it, and a 40-year-old overweight guy, instead of these anorexic young kids.” (Larocca, 2008) This links back to Teller’s interest in self-portraiture, by using himself he carries personal narratives over into his commercial images and conveys a rebellious attitude to the strict adherence to youth and beauty fashion photography traditionally subscribes to (The Independent, 2009), in turn this helps paint Marc Jacobs as a brand that isn’t afraid to be different.

Image 38: Louie XV 1 (Teller, 2004)

â&#x20AC;&#x153;For me it was important that an over-60 woman is in a high-class fashion ad, and a 40-year-old overweight guy, instead of these anorexic young kids.â&#x20AC;? -Juergen Teller-

(Larocca, 2008)

Image 39: Rampling and Teller for Marc Jacobs 1 (Teller, 2004)

Image 40: Louie XV 2 (Teller, 2004)

Image 41: Rampling and Teller for Marc Jcobs 2 (Teller, 2004)

CONCLUSION In conclusion, it is evident Juergen Teller has been hugely impactful on fashion marketing and branding, this has been demonstrated by how he helped redefine fashion photography in the 1990’s and altered the visual landscape, as with his fashion photography he did more than just photograph an item of clothing on a model that might as well be a mannequin, instead he created a narrative and placed importance on who the individual is. This continues to influence many brands today, for example, an American Apparel ad might look very different had Juergen Teller not come first and introduced the world to his style of raw authenticity. The way Marc Jacobs is thought of as a brand has also hugely been decided by Teller’s work as his tendency to make a statement and show his individual voice has seeped through into their imagery. Furthermore, this attitude has been shown to impact culture and society as a whole as his unconventional use of models means that when viewing his images people are presented with a realistic representation which shows people they’re allowed to have flaws and their looks aren’t the most important thing about them, this idea is being increasingly utilized by brands like Dove, and so Teller’s work could potentially be the starting point for the breaking down of traditional beauty standards within marketing.

Image 2: Vater Und Sohn (Teller, 2005)

Image 42: Juergen Teller (Vogue, 2012)

Image 43: Cerith, Suffolk (Teller, 2011)

ILLUSTRATIONS Image 1 – Teller, J. (2011) Dakota Fanning for Marc Jacobs Lola perfume [Digital Image]. Available at: http://www.thelookdcu.com/tag/marc-jacobs/ (Accessed: 31 January 2017). Image 2 – Teller, J. (2005) Vater Und Sohn [Digital Image]. Available at: https://artblart.com/tag/ juergen-teller-sigmund-freuds-couch/ (Accessed: 31 January 2017). Image 3 Teller, J. (2006) Isabella Huppert 1 [Digital Image]. Available at: https://www.fondationcartier.com/art-contemporain/406/261-boulevard-raspail-paris/ (Accessed : 31 January 2017). Image 4 Telelr, J. (2006) Isabella Huppert 2 [Digital Image]. Available at: http://www.modernism. ro/2010/05/17/isabelle-huppert-femeia-cu-portrete-sala-dalles-bucuresti/ (Accessed: 31 January 2017). Image 5 – Teller, J. (1998) Young Pink Kate [Digital Image]. Available at: https://www.artsy.net/artwork/juergen-teller-young-pink-kate (Accessed: 5 February 2017). Image 6 – Teller, J. (1994) Kate Moss For British Vogue 1 [Digital Image]. Available at: http://www. vogue.co.uk/gallery/juergen-teller-vogue-photo-archive (Accessed: 6 February 2017) Image 7 – Teller, J. (1994) Kate Moss For British Vogue 2 [Digital Image]. Available at: https://uk.pinterest.com/pin/501940320952046062/ (Accessed: 6 February 2017) Image 8 – Teller, J. (1991) Kurt Cobain, Berlin [Digital Image]. Available at: http://artruby.com/ post/42777980702/juergen-teller-kurt-cobain-berlin-1991 (Accessed: 6 February 2017). Image 9 – Teller, J. (1998) Go-sees 1 [Digital Image]. Available at: https://www.tumblr.com/search/ juergen%20teller%20go%20sees (Accessed: 7 February 2017). Image 10 – Teller, J. (1998) Go-sees 2 [Digital Image]. Available at: http://www.americansuburbx. com/2015/12/juergen-teller-discussing-go-sees-and-ping-pong.html (Accessed 7 February 2017). Image 11 – Teller, J. (1998) Go-sees 3 [Digital Image]. Available at: http://www.americansuburbx. com/2015/12/juergen-teller-discussing-go-sees-and-ping-pong.html (Accessed 7 February 2017). Image 12 – Teller, J. (1998) Go-sees 4 [Digital Image]. Available at: http://www.americansuburbx.

com/2015/12/juergen-teller-discussing-go-sees-and-ping-pong.html (Accessed 7 February 2017). Image 13 – Teller, J. (1996) Kristen McMenamy Versace Heart [Digital Image]. Available at: https://agnautacouture.com/2013/02/17/juergen-teller-likes-collaborating-part-1/ (Accessed 7 February 2017). Image 14 – Teller, J. (2011) Kristen McMenamy for 032c Magazine 1 [Digital Image]. Available at: https://uk.pinterest.com/pin/123075002288380577/ (Accessed 7 February 2017). Image 15 – Teller, J. (2011) Kristen McMenamy for 032c Magazine 2 [Digital Image]. Available at: http://ohliviabrun.blogspot.co.uk/2013/02/juergen-teller.html (Accessed: 7 February 2017). Image 16 – Teller, J. (2005) Kristen McMenamy for Marc Jacobs Fall Campaign [Digital Image]. Available at: http://www.kidsofdada.com/blogs/magazine/11601373-fashions-bottom-line (Accessed: 10 February 2017). Image 17 – Teller, J. (2008) Vivienne Westwood Spring/Summer [Digital Image]. Available at: https:// uk.pinterest.com/pin/412994228304004771/ (Accessed: 10 February 2017). Image 18 – Teller, J. (2009) Vivienne Westwood Nude 1 [Digital Image]. Available at: https://www. theguardian.com/artanddesign/2013/jan/06/juergen-teller-fame-laid-bare (Accessed: 10 February 2017). Image 19 – Teller, J. (2009) Vivienne Westwood Nude 2 [Digital Image]. Available at: http://nymag. com/thecut/2012/02/slideshow-juergen-teller-vivienne-westwood-lehmann-maupin-gallery/ slideshow/17/ (Accessed: 10 February 2017) Image 20 – Teller, J. (2010) Self-portrait Daisy Perfume [Digital Image]. Available at : http://nymag. com/thecut/2014/06/juergen-tellers-macho-new-photos/slideshow/2014/06/23/juergen_ teller/juergen-teller-5/ (Accessed 20 February 2017). Image 21 – Teller, J. (2001) Sofia Coppola for Marc Jacobs Fragrance Campaign [Digital Image]. Available at: http://www.dazeddigital.com/fashion/article/31215/1/why-juergen-teller-putshimself-in-his-photos (Accessed: 22 February 2017). Image 22 – Teller, J. (2005) Nürnberg Spring 3 [Digital Image]. Available at: https://paddle8.com/work/juergen-teller/70715-nrnberg-spring-3-bubenreuth (Accessed: 1 March 2017). Image 23 – Teller, J. (2005) Nürnberg Autumn 2 [Digital Image]. Available at: https://www.fondationcartier.com/en/art-contemporain/26/exhibitions/294/all-the-exhibitions/623/juergen-tellerdo-you-know-what-i-mean/ (Accessed: 1 March 2017). Image 24 –

Teller, J. (2005) Nürnberg Summer 10 [Digital Image] Available at: http://renabranstengallery.com/exhibitions/allusive-moments/teller-nuernberg-summer-10 (Accessed: 1 March 2017). Image 25 – Teller, J (2005) Nürnberg Winter 10 [Digital Image]. Available at: https://dailyartfair. com/exhibition/3603/billy-childish-teresita-fernandez-tracey-emin-angel-otero-juergen-teller-group-show-lehmann-maupin (Accessed: 1 March 2017). Image 26 – Teller, J. (2015) Kanye, Juergen & Kim 1 [Digital Image] Available at: http://www.spikeartmagazine.com/en/articles/creepy-and-grotesque-kanye-kim-and-juergen (Accessed: 1 March 2017) Image 27 – Teller, J. (2015) Kanye, Juergen & Kim 2 [Digital Image] Available at: https://news.artnet. com/app/news-upload/2015/07/kim-kanye-juergen-3-1.jpg (Accessed: 1 March 2017) Image 28 – Teller, J. (2015) Kanye, Juergen & Kim 3 [Digital Image] Available at: https://news.artnet. com/app/news-upload/2015/07/kim-kanye-juergen-3-1.jpg (Accessed: 1 March 2017) Image 29 – Teller, J. (2015) Kanye, Juergen & Kim 4 [Digital Image] Available at: http://www.dazeddigital.com/photography/article/25442/1/kanye-and-kim-have-released-a-very-odd-photobook (Accessed: 1 March 2017). Image 30 – Teller, J. (1997) Backstage at Helmut Lang Fall/Winter Fashion Show [Digital Image]. Available at: http://theredlist.com/wiki-2-23-1249-1260-view-1990s-profile-helmut-lang-4.html (Accessed: 2 March 2017). Image 31 – Teller, J. (1999) Fall/Winter Helmut Lang Campaign [Digital Image]. Available at: http:// theredlist.com/wiki-2-23-1249-1260-view-1990s-profile-helmut-lang-4.html (Accessed: 2 March 2017). Image 32 – Teller, J. (2004) Sping/Summer Helmut Lang Campaign [Digital Image]. Available at: http:// theredlist.com/wiki-2-23-1249-1260-view-1990s-profile-helmut-lang-4.html (Accessed: 2 March 2017). Image 33 – Teller, J. (2007) Dakota Fanning for Marc Jacobs [Digital Image]. Available at: https:// uk.pinterest.com/pin/78531587229419793/ (Accessed: 2 March 2017). Image 34 – Teller, J. (2008) Victoria Beckham for Marc Jacobs 1 [Digital Image]. Available at: http:// nitrolicious.com/2008/01/11/victoria-beckham-for-marc-jacobs-springsummer-08/ (Accessed: 2 March 2017). Image 35 – Teller, J. (2008) Victoria Beckham for Marc Jacobs 2 [Digital Image]. Available at: http:// nitrolicious.com/2008/01/11/victoria-beckham-for-marc-jacobs-springsummer-08/ (Accessed: 2 March 2017). Image 36 – Teller, J. (2008) Victoria Beckham for Marc Jacobs 3 [Digital Image]. Available at: https://

uk.pinterest.com/pin/258323728597705118/ (Accessed: 2 March 2017). Image 37 – Teller, J. (2004) Charlotte Rampling for Marc Jacobs [Digital Image]. Available at: http:// wmagazine.tumblr.com/post/113582348927/charlotte-rampling-leads-our-favorite-dangerous (Accessed: 2 March 2017). Image 38 – Teller, J. (2004) Louie XV 1 [Digital Image]. Available at: https://www.welt.de/lifestyle/article5655767/Madonna-hatte-Angst-vor-mir.html (Accessed: 2 March 2017). Image 39 – Teller, J. (2004) Rampling and Teller for Marc Jacobs 1 [Digital Image]. Available at: http:// www.artribune.com/arti-visive/fotografia/2014/07/miartalks-2014-masters-of-photography-juergen-teller/attachment/in10357345155_teller_mjbook/ (Accesed: 2 March 2017). Image 40 – Teller, J. (2004) Louie XV 2 [Digital Image]. Available at: http://southasastateofmind.com/ south-likes-juergen-teller-deste-athens/ (Accessed: 2 March 2017). Image 41 – Teller, J. (2004) Rampling and Teller for Marc Jacobs 2 [Digital Image]. Available at: https:// uk.pinterest.com/pin/84583299226815932/ (Accessed: 2 March 2017). Image 42 – Vogue (2012) Juergen Teller [Digital Image]. Available at: http://images.vogue.it/imgs/ galleries/peole-are-talking-about/art-photo-design/015708/h-6.18096666-91800_0x440.jpg (Accessed: 2 March 2017). Image 43 – Teller, J. (2011) Cerith, Suffolk [Digital Image]. Available at: http://images.vogue.it/imgs/ galleries/peole-are-talking-about/art-photo-design/015708/h-6.18096666-91800_0x440.jpg (Accessed: 2 March 2017)

REFERENCE LIST Anon (2006) Fondation Cartier pour l’art contemporain. Available at: https://www.fondationcartier.com/#/en/art-contemporain/26/exhibitions/294/all-the-exhibitions/623/juergenteller-do-you-know-what-i-mean/ (Accessed: 1 March 2017). Blanks, T. (2015) Juergen Teller: ‘Popularity Doesn’t Interest Me Whatsoever’. Available at: https://www.businessoffashion.com/articles/people/tim-blanks-meets-juergen-teller (Accessed: 1 March 2017). Coles, S. (2006) Nürnberg - Juergen teller. Available at: https://steidl.de/Books/Nuernberg-0008164358.html (Accessed: 1 March 2017). Dance, S. (2015) Juergen Teller. Available at: http://www.russhmagazine.com/arts-music/ artists/Juergen-teller/ (Accessed: 27 February 2017). Galerie Rudolfinum (2016) Juergen Teller: Enjoy Your Life. Available at: http://www.galerierudolfinum.cz/en/exhibition/juergen-teller-enjoy-your-life (Accessed: 20 February 2017). Gell, A. (2000) Juergen teller - artists. Available at: http://www.lehmannmaupin.com/artists/ juergen-teller/press/85 (Accessed: 22 February 2017). Glaviano, A. (2015) Juergen teller. Available at: http://www.vogue.it/en/photography/interviews/2015/03/25/juergen-teller/ (Accessed: 20 February 2017). Higham-Stainton, R. and Dazed (2016) Why Juergen teller puts himself in his photos. Available at: http://www.dazeddigital.com/fashion/article/31215/1/why-juergen-teller-puts-himselfin-his-photos (Accessed: 1 March 2017). The Independent (2009) Juergen teller: Fashion’s provocative photographer reveals all. Available at: http://www.independent.co.uk/arts-entertainment/art/features/juergen-teller-fashions-provocative-photographer-reveals-all-1724407.html#gallery (Accessed: 3 March 2017). Kids of Dada (2017) FASHION’S BOTTOM LINE. Available at: http://www.kidsofdada.com/ blogs/magazine/11601373-fashions-bottom-line (Accessed: 22 February 2017). Kismaric, S. and Respini, E. (2008) Fashion Fiction in Photograhy since 1990. In: Fashion as photograph: Viewing and reviewing images of fashion. Edited by Eugenie Shinkle. London: I. B.Tauris & Company, pp.29-45 Knight, N. (2014) Subjective: Kristen McMenamy by Juergen Teller. Available at: http:// showstudio.com/project/subjective/kristen_mcmenamy_by_juergen_teller (Accessed: 21 February 2017). Larocca, A. (2008) Straight shooter. Available at: http://nymag.com/fashion/08/ fall/49257/ (Accessed: 20 February 2017). Millard, R. (2006) ‘Overexposure’, New Statesman, 19(901), pp. 40–42. Needham, A. (2013) Juergen teller: Fame laid bare. Available at: https://www.theguardian. com/artanddesign/2013/jan/06/juergen-teller-fame-laid-bare (Accessed: 23 February 2017).

Pearson, J. (2007) Juergen teller does whatever he wants. Available at: https://www.vice.com/ en_us/article/juergen-v14n2 (Accessed: 26 February 2017). Rhodes, K. (2008) The Elegance of the Everyday: Nobodies in Contemporary Fashion In: Fashion as photograph: Viewing and reviewing images of fashion. Edited by Eugenie Shinkle. London: I. B.Tauris & Company, pp. 200-213 Smyth, D. (2012) MEETING OF THE MINDS. The British Journal of Photography, 159(7804), pp. 39-49 SMYTH, D. (2009) Stellar Teller. The British Journal of Photography, 156(7746), pp. 20-25. Teller, J. (1996) Juergen teller. Edited by Cornel Windlin. Germany: Taschen America. Teller, J. (2013) Juergen Teller: Woo. 01st edn. Steidl. Teller, J., Darrieussecq, M., Huppert, I. and Chandès, H. (2006) Jurgen teller, Do You Know What I Mean. France: Fondation Cartier pour l’art contemporain.

BIBLIOGRAPHY Books:

Barthes, R. and Heath, S. (1977) Image, music, text. 5th edn. New York: Hill and Wang. Bruzzi, S. and Gibson, P.C. (eds.) (2013) Fashion cultures: Theories, explorations, and analysis. 2nd edn. London, United Kingdom: Taylor and Francis. Shinkle, E. (ed.) (2008) Fashion as photograph: Viewing and reviewing images of fashion. London: I. B.Tauris & Company. Teller, J. (1996) Juergen teller. Edited by Cornel Windlin. Germany: Taschen America. Teller, J. (2013) Juergen Teller: Woo. 01st edn. Steidl. Teller, J., Darrieussecq, M., Huppert, I. and Chandès, H. (2006) Jurgen teller, Do You Know What I Mean. France: Fondation Cartier pour l’art contemporain. Teller, J., Westwood, V., Kronthaler, A. and Ajuma (2011) Vivienne Westwood: Spring Summer 2008. 1st edn. Berlin, Germany: Steidl. Veckner, S. (2015) 100 Ideas That Changed Advertising. Laurence King.

Journals: Arnold, R. (1999a) ‘Heroin Chic’, Fashion Theory, 3(3), pp. 279–295. Arnold, R. (1999b) ‘The Brutalized Body’, Fashion Theory, 3(4), pp. 487–502. Millard, R. (2006) ‘Overexposure’, New Statesman, 19(901), pp. 40–42. Smyth, D. (2012) MEETING OF THE MINDS. The British Journal of Photography, 159(7804), pp. 39-49

Smyth, D. (2009) Stellar Teller. The British Journal of Photography, 156(7746), pp. 20-25.

Videos: The Guardian (2013) Photographer Juergen Teller’s Woo! Available at: https://www.theguardian.com/artanddesign/video/2013/jan/24/photography-juergen-teller-ica-video (Accessed: 4 March 2017). Knight, N. (2014) Subjective: Kristen McMenamy by Juergen Teller. Available at: http://showstudio.com/project/subjective/kristen_mcmenamy_by_juergen_teller (Accessed: 21 February 2017).

Websites: Anon (2006) Fondation Cartier pour l’art contemporain. Available at: https://www.fondationcartier.com/#/en/art-contemporain/26/exhibitions/294/all-the-exhibitions/623/juergen-tellerdo-you-know-what-i-mean/ (Accessed: 1 March 2017). Anon (2017) Juergen teller. Available at: http://www.famousphotographers.net/juergen-teller (Accessed: 4 March 2017). Blanks, T. (2015) Juergen Teller: ‘Popularity Doesn’t Interest Me Whatsoever’. Available at: https://www.businessoffashion.com/articles/people/tim-blanks-meets-juergen-teller (Accessed: 1 March 2017). Coles, S. (2006) Nürnberg - Juergen teller. Available at: https://steidl.de/Books/Nuernberg-0008164358.html (Accessed: 1 March 2017). Dance, S. (2015) Juergen Teller. Available at: http://www.russhmagazine.com/arts-music/artists/Juergen-teller/ (Accessed: 27 February 2017). Galerie Rudolfinum (2016) Juergen Teller: Enjoy Your Life. Available at: http://www.galerierudolfinum.cz/en/exhibition/juergen-teller-enjoy-your-life (Accessed: 20 February 2017). Gell, A. (2000) Juergen teller - artists. Available at: http://www.lehmannmaupin.com/artists/ juergen-teller/press/85 (Accessed: 22 February 2017). Glaviano, A. (2015) Juergen teller. Available at: http://www.vogue.it/en/photography/interviews/2015/03/25/juergen-teller/ (Accessed: 20 February 2017). Higham-Stainton, R. and Dazed (2016) Why Juergen teller puts himself in his photos. Available at: http://www.dazeddigital.com/fashion/article/31215/1/why-juergen-teller-puts-himself-in-hisphotos (Accessed: 1 March 2017). The Independent (2009) Juergen teller: Fashion’s provocative photographer reveals all. Available at: http://www.independent.co.uk/arts-entertainment/art/features/juergen-teller-fashions-provocative-photographer-reveals-all-1724407.html#gallery (Accessed: 3 March 2017). Kids of Dada (2017) FASHION’S BOTTOM LINE. Available at: http://www.kidsofdada.com/ blogs/magazine/11601373-fashions-bottom-line (Accessed: 22 February 2017). Larocca, A. (2008) Straight shooter. Available at: http://nymag.com/fashion/08/fall/49257/ (Accessed: 20 February 2017).

Needham, A. (2013) Juergen teller: Fame laid bare. Available at: https://www.theguardian. com/artanddesign/2013/jan/06/juergen-teller-fame-laid-bare (Accessed: 23 February 2017). Pearson, J. (2007) Juergen teller does whatever he wants. Available at: https://www.vice.com/ en_us/article/juergen-v14n2 (Accessed: 26 February 2017). Shilling, J. (2013) Charlotte Rampling: How to grow old gracefully. Available at: http://www. telegraph.co.uk/culture/photography/9800542/Charlotte-Rampling-how-to-grow-old-gracefully. html (Accessed: 4 March 2017). Stansfield, T. (2015) Juergen teller speaks out about that Kim and Kanye shoot. Available at: http://www.dazeddigital.com/fashion/article/28535/1/juergen-teller-speaks-out-about-that-kimand-kanye-shoot (Accessed: 4 March 2017). Vogue (2017) Victoria Beckhamâ&#x20AC;&#x2122;s Marc Jacobs campaign. Available at: http://www.vogue. co.uk/article/shooting-victoria-beckham (Accessed: 4 March 2017).