DOCSLIB.ORG

Juergen Teller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Juergen Teller SUZANNE TARASIEVE PARIS JUERGEN TELLER Né en 1964 à Erlangen, Allemagne / Born in 1964 in Erlangen, Germany Vit à Londres, Angleterre / Lives in London, England EDUCATION 1984-1986 Bayerische Staatslehranstalt für Photographie, Munich, Germany EXPOSITIONS PERSONNELLES / SOLO SHOWS ( Selection) 2018 Leg, snails and peaches, Galerie Suzanne Tarasieve, Paris, France Enjoy Your Life! Kunstmuseum Winterthur, Switzerland Juergen Teller, Christine König Galerie, Vienna, Austria Juergen Teller: Zittern auf dem Sofa, Garage Museum of Contemporary Art, Moscow, Russia 2017 Enjoy Your Life! Martin-Gropius-Bau, Berlin, Germany Juergen Teller, Kunstpalais, Erlangen, Germany Juergen Teller: Teller Ga Kaeru, Blum & Poe Gallery, Tokyo, Japan Juergen Teller, Great Arch Hall, Photo London, Somerset House, London Juergen Teller x Vivienne Westwood, Vivienne Westwood showroom, New York Go-Sees, Alison Jacques Gallery, London, UK Art Düsseldorf, Galerie Suzanne Tarasieve, Düsseldorf, Germany 2016 Enjoy Your Life!, Rudolfinum, Prague, Czech Republic Enjoy Your Life!, Bundestkunsthalle, Bonn, Germany 2015 Kanye, Juergen & Kim, Phillips, London, UK Kanye, Juergen & Kim, Galerie Suzanne Tarasieve/Loft 19, Paris, France Paris Photo Los Angeles, Galerie Suzanne Tarasieve, Paris, France Juergen Teller & Xiang Jing, Lehmann Maupin, Hong Kong The Clinic, CFA, Berlin 2014 Paris Photo, Boris Mikhaïlov & Juergen Teller, Galerie Suzanne Tarasieve, Paris, France Juergen Teller: Macho, Deste Foundation, Athens, Greece (Curator: Marina Fokidis) I am Fifty, Galerie Suzanne Tarasieve, Paris, France Bus Stops, The Strand, London, UK Araki Teller Teller Araki, Ostlicht, Vienna 2013 Paris Photo, Galerie Suzanne Tarasieve, Paris, France Woo!, Institute of Contemporary Art, London, UK 2012 Bilder und Texte, Embassy of the Federal Republic of Germany, London, UK Juergen Teller, Lehmann Maupin, New York, USA The Girl with the Broken Nose, Palazzo Reale, Milan, Italy SUZANNE TARASIEVE PARIS 7, rue Pastourelle F-75003 Paris + LOFT19 Passage de lʼAtlas / 5, Villa Marcel Lods F-75019 Paris www.suzanne-tarasieve.com [email protected] EURL au capital de 7500 euros - RCS Paris 447 732 868 – VAT identification N° FR 404 477 328 68 - SIRET : 447 732 868 00040 SUZANNE TARASIEVE PARIS Irene im Wald, The Journal Gallery, Brooklyn, New York, USA 2011 Paradis, Johann Koenig Gallery, Berlin, Germany Men and Women, O23C Workshop, Berlin, Germany Texte und Bilder, Moscow House of Photography, Russia Touch Me, Daelim Contemporary Art Museum, Seoul, Korea Man with Banana, Dallas Contemporary, USA Texte und Bilder, Brukenthal Museum, Sibiu, Romania ; Moscow House of Photography, Moscow, Russia 2010 Touch Me, Le Consortium, Dijon, France Calves and Thighs, Alcala 31, Madrid, Spain Texte Und Bilder, Christine König Galerie, Vienna, Austria 2009 Teller, Frans Hals Museum, Haarlem, Netherlands Paradis, Lehmann Maupin, New York, USA Logisch, Kunsthalle Nürnberg, Germany 2008 Ukraine, Lehmann Maupin, New York, USA Nürnberg, Galerist, Istanbul, Turkey 2007 Awailable, Inverleith House, Edinburgh, Scotland 2006 Nürnberg, Lehmann Maupin, New York, USA Do you know what I mean, Foundation Cartier pour lʼart contemporain, Paris, France 2005 Louis XV, Contemporary Fine Art, Berlin, Germany 2004 Go-sees and World cup final, Germany v Brazil 0-2 Temple Bar Visual Arts, Dublin, Ireland Ich bin Vierzig, Kunsthalle Wien, Vienna, Austria The Master, Modern Art, London, UK 2003 Märchenstüberl, Galleria dʼArte Moderna, Bologna, Italy Märchenstüberl Frans Hals Museum, Haarlem, Netherlands Zwei Schäuferle mit Kloß und eine Kinderportion Schnitzel mit Pommes Frites, Contemporary Fine Arts, Berlin, Germany Donʼt suffer too much, Milton Keynes Gallery, Milton Keynes, UK Daddy Youʼre So Cute, Lehmann Maupin, New York, USA Tracht, Kuntsthalle Mannheim, Mannheim, Germany 2002 Märchenstüberl, Fotomuseum, München, Germany Märchenstüberl, Museum Folkwang, Essen, Germany 2001 Märchenstüberl, Modern Art, London, UK 2000 Juergen Teller, Lehmann Maupin Gallery, New York, USA SUZANNE TARASIEVE PARIS 7, rue Pastourelle F-75003 Paris + LOFT19 Passage de lʼAtlas / 5, Villa Marcel Lods F-75019 Paris www.suzanne-tarasieve.com [email protected] EURL au capital de 7500 euros - RCS Paris 447 732 868 – VAT identification N° FR 404 477 328 68 - SIRET : 447 732 868 00040 SUZANNE TARASIEVE PARIS 1999 Go-Sees, Pitti Immagine Discovery, Florence, Italy 1998 Juergen Teller, Photographers Gallery, London, UK EXPOSITIONS COLLECTIVES / GROUP SHOWS (Selection) 2018 Dancing with the camera, Galerie Suzanne Tarasieve, Paris Photo, Grand Palais, Paris, France The Incomplete Araki: Sex, Life, and Death in the works of Nobuyoshi Araki, Museum of Sex, New York, USA London Calling, Musée de la civilization, Québec, Canada Icons of Style: A Century of Fashion Photography 1911-2011, J. Paul Getty Museum, Los Angeles, USA For the Love of the Game, Magasins Généraux, Paris-Pantin, France Summer Exhibition, Royal Academy, London, UK Dr. Hoggʼs Divine Disorder, an Exhibition of Art, Fashion and Photography, The Gallery, Liverpool, UK The Moment is Eternity: Works from the Olbricht Collection, The Olbricht Collection, Berlin, Germany The Quick and the Dead: Hambling-Horsley-Lucas-Simmons-Teller, Jerwood Gallery, Hastings, UK 2017 PHOTOFAIRS | San Francisco, Galerie Suzanne Tarasieve, San Francisco, USA Pink, Colette Concept Store, Paris, France Dio Horia: The 21 Project, Twenty One art hotel restaurant, Athens, Greece The Inner Skin: Art and Shame, Marta Herford, Herford, Germany Autophoto, Fondation Cartier pour lʼart Contemporain, Paris, France Kiss, Bröhan-Museum, Berlin, Germany Boris Mikhailov 'Parliament', Ukrainian Pavilion at the Venice Biennale, Italy Christian Dior, Couturier Du Rêve, Musée des Arts Décoratifs, Paris, France Claudia Schiffer, Camera work, Berlin, Germany Farewell Photography, Biennale für aktuelle Fotografie, Ludwigshafen and Heidelberg, Germany La Vie Simple - Simplement la Vie, Fondation Vincent van Gogh Arles Aging Pride, Museum Belvedere, Vienna, Austria 2016 Vogue 100: A Century of Style, National Portrait Gallery, London, UK Vogue 100: A Century of Style, Manchester Art Gallery, Manchester, UK Faces Now: European Portrait Photography Since 1990, Les Berges Park, Paris, France, Faces Now: European Portrait Photography Since 1990, CentroCentro/PHotoEspaña, Madrid, Spain I Still Believe in Miracles, Inverleith House, Edinburgh, UK Artistic Differences: Judy Blame, ICA, London, UK Behold the Man, Museum de Fundatie, Zwolle, Netherlands Get a Life: Vivienne Westwood, K11 Shanghai Xinshiyi Art Center, Shanghai, China Cause The Grass Don´t Grow And The Sky Ain´t Blue, Galerie Praz-Delavallade, Paris, France Foot Foraine, La Villette (curated by Jean-Max Colard), Paris, France 2015 th Violence and Destruction 6 : Fotofestival, Kunstverein Ludwigshafen am Rhein, Germany Sleepless: The Bed in History and Contemporary Art, 21er Haus Belvedere, Vienna, Austria Paris Photo, Galerie Suzanne Tarasieve, Paris, France Faces Now :European Portraits in Photography since 1990, BOZAR Centre for Fine Arts, Brussels, Belgium; The Netherlands Fotomuseum, Rotterdam, National Museum of Photography, Thessaloniki, Greece A lie abouta lie, a truth about The truth, Little Big Man Gallery, Los Angeles, CA, USA Love and Loss: Fashion and Mortality, LENTOS Kunstmuseum Linz, Austria SUZANNE TARASIEVE PARIS 7, rue Pastourelle F-75003 Paris + LOFT19 Passage de lʼAtlas / 5, Villa Marcel Lods F-75019 Paris www.suzanne-tarasieve.com [email protected] EURL au capital de 7500 euros - RCS Paris 447 732 868 – VAT identification N° FR 404 477 328 68 - SIRET : 447 732 868 00040 SUZANNE TARASIEVE PARIS Horizon, Lehmann Maupin, Hong Kong, Hong Kong Earth Matters: When Natural & Creative Forces Meet, Artipelag Art Gallery, Värmdö, Sweden JUERGEN Mini-shop, Dover Street Market New York, USA Future Seasons Past, (curated by Manuel Gonzales), Lehmann Maupin, New York, USA Free the Night, Westminster tube station, London, England Summer of Fashion, Centre for Fine Arts BOZAR, Brussels, Belgium VOGUE 100: A Century of Style, National Portrait Gallery, London, England REVUE 25, Christine König Gallery, Vienna, Austria 2014 Only the Good Ones: The Snapshot Aesthetic Revisited, Galerie Rudolfinum, Prague, Czech Republic Art Brussels, Galerie Suzanne Tarasieve, Brussels, Belgium Weʼve got the Look !, Juergen Teller & Studierende der ADBK, Akademie der Kunst, Nurnberg, Germany Paparazzi ! Photographes, stars et artistes, Centre Pompidou-Metz, Metz, France (Curators: Clément Chéroux, Quentin Bajac and Sam Stourdzé) Paparazzi! Photographs, Stars and Artists, Schirn Kunsthalle, Frankfurt, Germany Art Cologne, Galerie Suzanne Tarasieve, Cologne, Germany Baroque, Kulturhuset, Stockholm, Sweden Rich Pickings: Photography and Wealth, Museum für Kunst und Gewerbe, Hamburg, Germany A Play on the Burden of Representation: Sigmund Freud and the Art of Our Time. An installation by Joseph Kosuth: 21er Haus Belvedere, Vienna, Austria Todayʼs Specials, Pace Gallery, London, UK Araki Teller Teller Araki, OstLicht: Galerie für Fotografie, Vienna, Austria Deste Fashion Collection: 1 To 8, Benaki Museum, Athens, Greece More Material: Duro Olowu, Salon 94, Bowery Gallery, New York, USA Darren Bader: Photographs I Like, Andrew Kreps Gallery, New York, USA Look at Me: Portraiture From Manet to the Present, Leila Heller Gallery, New York, USA Dior - The Legendary Images, Christian Dior Museum Granville, Normandy, France Space, 625 Amin Street, Sundance Film Festival, Utah,
Load more

Recommended publications
  • Fashion Awards Preview
    WWD A SUPPLEMENT TO WOMEN’S WEAR DAILY 2011 CFDA FASHION AWARDS PREVIEW 053111.CFDA.001.Cover.a;4.indd 1 5/23/11 12:47 PM marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller marc jacobs stores worldwide helena bonham carter www.marcjacobs.com photographed by juergen teller NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM NEW YORK LOS ANGELES BOSTON LAS VEGAS MIAMI DALLAS SAO PAULO LONDON PARIS SAINT TROPEZ BRUSSELS ANTWERPEN KNOKKE MADRID ATHENS ISTANBUL MOSCOW DUBAI HONG KONG BEIJING SHANGHAI MACAU JAKARTA KUALA LUMPUR SINGAPORE SEOUL TOKYO SYDNEY DVF.COM IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG IN CELEBRATION OF THE 10TH ANNIVERSARY OF SWAROVSKI’S SUPPORT OF THE CFDA FASHION AWARDS AVAILABLE EXCLUSIVELY THROUGH SWAROVSKI BOUTIQUES NEW YORK # LOS ANGELES COSTA MESA # CHICAGO # MIAMI # 1 800 426 3088 # WWW.ATELIERSWAROVSKI.COM BRAIDED BRACELET PHOTOGRAPHED BY MITCHELL FEINBERG WWD Published by Fairchild Fashion Group, a division of Advance Magazine Publishers Inc., 750 Third Avenue, New York, NY 10017 EDITOR IN CHIEF ADVERTISING Edward Nardoza ASSOCIATE PUBLISHER, Melissa Mattiace ADVERTISING DIRECTOR, Pamela Firestone EXECUTIVE EDITOR, BEAUTY Pete Born PUBLISHER, BEAUTY INC, Alison Adler Matz EXECUTIVE EDITOR Bridget Foley SALES DEVELOPMENT DIRECTOR, Jennifer Marder EDITOR James Fallon ASSOCIATE PUBLISHER, INNERWEAR/LEGWEAR/TEXTILE, Joel Fertel MANAGING EDITOR Peter Sadera EXECUTIVE DIRECTOR, INTERNATIONAL FASHION, Matt Rice MANAGING EDITOR, FASHION/SPECIAL REPORTS Dianne M.
    [Show full text]
  • Body As Crisis
    CHAPTER II It is monstrosity, not death, that is the counter- value to life Georges Canguilhem, Monstrosity and the Monstrous … In the middle, cadaverous, awful, lay the grey puddle in the courtyard … I came to the puddle. I could not cross it. Identity failed me Virginia Woolf, The Waves Frida Kahlo and Cindy Sherman both present the wounded flesh. But while Kahlo showed chronic pain as a result of tissue damage, Sherman’s art can be read as a symptom of pain, a reflection of a mental state. While Kahlo painted perpetual pain accompanying her all her life, Sherman shows pain as a structural instability, the blurring of the boundaries of stereotyped femininity. Like her own artistic persona, pain in Sherman’s work is de-individualized; it might just as well be the pain of an author, a model, a character or a viewer. Abandoning any claim on notions such as authorship or intentionality, Sherman disowns – but does not disembody – pain. Pain in Sherman’s art changes the body in the same way that emotional crisis watermarks the identity. Sherman never shows her characters as what is widely understood as idealized figures. Her art forms the counterpart to the American cult of the well-functioning, toned-down body, where any memory of pain had been erased. Pain denied elsewhere here becomes pain transformed into monstrosity, nausea, pathology, hysteria, and disguise. Sherman’s photographs force the viewer to acknowledge the amount of pain constituting the female subject. I am interested in the discursive exchange between feminist and psychoanalytic theories and visual images where Sherman’s art is concerned.
    [Show full text]
  • Modern Painters March 2006 Let Me Entertain You Juergen Teller Takes
    Modern Painters March 2006 Let Me Entertain You Juergen Teller takes centre stage By Vince Aletti IT'S HARD TO TAKE Juergen Teller seriously, but that's part of his appeal. Teller doesn't take himself too seriously either. He's a joker, a prankster, sometimes a buffoon. He became famous as a fashion photographer in the 1990s, when artists (including Corinne Day, Wolfgang Tillmans, Jack Pierson, Nan Goldin and Terry Richardson) and magazines (The Face, i-D, Dutch, Dazed & Confused, Index) that had little or no use for the genre's conventions were scrapping them and starting over from scratch. Mocking fashion's snobbism and superficiality, Teller and his fellow mavericks made work that was cheeky, funny, street smart and much more about the model's attitude than the clothes she wore. Or didn't wear. Teller's most notorious photos, from 1996, are of model Kristen McMenamy wearing nothing but jewellery; inside a crude lipstick heart drawn between her breasts is the name Versace, written in eyebrow pencil. Glamour survived these attempts to debunk it, but Teller had made his mark and established a reliably, often hilariously, perverse career in fashion photography that continues most conspicuously in his ad campaign for Marc Jacobs. There's scant evidence of that career in the Teller exhibition that opens at Fondation Cartier in Paris this month, where the nudity on display will be primarily his own. Titled Do You Know What I Mean, the show includes frankly autobiographical work, some of which was on view at New York's Lehmann Maupin Gallery in January, and finds Teller delving deeper into personal and national history.
    [Show full text]
  • Pirelli Calendar 2010 by Terry Richardson London
    Pirelli Calendar 2010 by Terry Richardson London, 19 November 2009 – The 2010 Pirelli Calendar, now in its 37th edition, was presented to the press and to guests and collectors from around the world, at its global premiere in London. The much-awaited appointment with ‘The Cal’, a cult object for over 40 years, was held this year at Old Billingsgate, the suggestive late 19th century building on the banks of the Thames, where from 1875 to 1982 it housed the capital city’s fish market. Following China, immortalized by Patrick Demarchelier in the 2008 edition, and Botswana shot by Peter Beard a year later, 2010 is the year of Brazil and of American photographer Terry Richardson, the celebrated “enfant terrible” known for his provocative and outrageous approach. In the 30 images that scan the months of 2010, Terry Richardson depicts a return to a playful, pure Eros. Through his lens he runs after fantasies and provokes, but with a simplicity that sculpts and captures the sunniest side of femininity. He portrays a woman who is captivating because she is natural, who plays with stereotypes in order to undo them, who makes irony the only veil she covers herself with. This is a return to the natural, authentic atmospheres and images of the ‘60s and ‘70s. It is a clear homage to the Calendar’s origins, a throwback to the first editions by Robert Freeman (1964), Brian Duffy (1965) and Harry Peccinotti (1968 and 1969). Terry Richardson, like his illustrious predecessors, has chosen a simple kind of photography, without retouching, where naturalness prevails over technique and becomes the key to removing artificial excesses in vogue today to reveal the true woman underneath.
    [Show full text]
  • Fashion Photography and the Museum by Jordan Macinnis A
    In and Out of Fashion: Fashion Photography and the Museum by Jordan MacInnis A thesis presented to the Ontario College of Art & Design in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Toronto, Ontario, Canada, 2011 © Jordan MacInnis 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature . Date . ii In and Out of Fashion: Fashion Photography and the Museum Master of Fine Arts, 2011 Jordan MacInnis Criticism & Curatorial Practice Ontario College of Art & Design University Abstract The past two decades have witnessed an increase in exhibitions of fashion photography in major international museums. This indicates not only the museum’s burgeoning interest in other cultural forms but the acceptance of fashion photography into specific art contexts. This thesis examines two recent exhibitions of contemporary fashion photography: “Fashioning Fiction in Photography Since 1990” at the Museum of Modern Art (April 16- June 28, 2004), the first exhibition of fashion photography at a major North American museum of art, and “Weird Beauty: Fashion Photography Now” at the International Center of Photography (January 16, 2009-May 3, 2009).
    [Show full text]
  • FOR IMMEDIATE RELEASE Juergen Teller Teller Ga Kaeru Curated by Francesco Bonami Blum & Poe, Tokyo February 4 – April 1, 2
    FOR IMMEDIATE RELEASE Juergen Teller Teller ga Kaeru Curated by Francesco Bonami Blum & Poe, Tokyo February 4 – April 1, 2017 Opening Reception: Saturday, February 4, 6-8 pm A donkey? How strange! Yet it is not strange. Any one of us might fall in love with a donkey! It happened in mythological times. — Fyodor Dostoyevsky, The Idiot (1869) Blum & Poe is pleased to present a solo exhibition of new work by Juergen Teller, curated by Francesco Bonami. This is the artist's first solo presentation in Japan in twenty-five years. Teller first made his mark on the public’s consciousness when his iconic pictures of Kurt Cobain were published in Details magazine in 1991. Thereafter, his first solo exhibition took place in Japan at Shibuya PARCO, Tokyo, in 1992, where he showed portraits and early fashion photographs. The following year he was the recipient of the 1993 Photography Prize at Festival de la Mode, Monaco. Since then Teller has collaborated with the world’s leading fashion designers including Marc Jacobs, Vivienne Westwood, Comme des Garçons, and Helmut Lang. The candid and casual nature of his work appears random yet it is based on precise planning and staging. This tension is evident in the bizarre scenario created for this exhibition, which debuts a new series of photographs depicting frogs on plates. As Francesco Bonami envisages it: "‘Once upon the time in a suburban neighborhood of an irrelevant country, people did not eat frogs but kissed them and made love with them’ — this could be the beginning of a fairy tale written by Juergen Teller while imagining this exhibition where frogs turn into a small crowd of viewers looking at the three main characters of the exhibition: the gentleman with the gorilla, the lady with the fox, and the man with the donkey.
    [Show full text]
  • Large Print Guide
    Large Print Guide You can download this document from www.manchesterartgallery.org Sponsored by While principally a fashion magazine, Vogue has never been just that. Since its first issue in 1916, it has assumed a central role on the cultural stage with a history spanning the most inventive decades in fashion and taste, and in the arts and society. It has reflected events shaping the nation and Vogue 100: A Century of Style has been organised by the world, while setting the agenda for style and fashion. the National Portrait Gallery, London in collaboration with Tracing the work of era-defining photographers, models, British Vogue as part of the magazine’s centenary celebrations. writers and designers, this exhibition moves through time from the most recent versions of Vogue back to the beginning of it all... 24 June – 30 October Free entrance A free audio guide is available at: bit.ly/vogue100audio Entrance wall: The publication Vogue 100: A Century of Style and a selection ‘Mighty Aphrodite’ Kate Moss of Vogue inspired merchandise is available in the Gallery Shop by Mert Alas and Marcus Piggott, June 2012 on the ground floor. For Vogue’s Olympics issue, Versace’s body-sculpting superwoman suit demanded ‘an epic pose and a spotlight’. Archival C-type print Photography is not permitted in this exhibition Courtesy of Mert Alas and Marcus Piggott Introduction — 3 FILM ROOM THE FUTURE OF FASHION Alexa Chung Drawn from the following films: dir. Jim Demuth, September 2015 OUCH! THAT’S BIG Anna Ewers HEAT WAVE Damaris Goddrie and Frederikke Sofie dir.
    [Show full text]
  • A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 the J
    Icons of Style: A Century of Fashion Photography, 1911-2011 June 26 to October 21, 2018 The J. Paul Getty Museum at the Getty Center 4 4 1. Louise Dahl-Wolfe 2. Louise Dahl-Wolfe American, 1895 - 1989 American, 1895 - 1989 ICONS _FASH ICONS ION _FASH Keep the Home Fires Burning, 1941 ION Andrea, Chinese Screen, 1941 Gelatin silver print Gelatin silver print Image: 13.7 × 13.1 cm (5 3/8 × 5 3/16 in.) Image: 32.6 × 27.8 cm (12 13/16 × 10 15/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 2018 Center for Creative Photography, © 1989 Center for Creative Photography, Arizona Board Arizona Board of Regents / Artists Rights Society (ARS), of Regents / Artists Rights Society (ARS), New York New York 84.XM.195.12 84.XM.195.7 4 4 3. George Hoyningen-Huene 4. Cecil Beaton American, born Russia, 1900 - 1968 British, 1904 - 1980 ICONS ICONS _FASH _FASH ION ION Model Posed with a Statue, New York, 1939 Debutantes—Baba Beaton, Wanda Baillie Hamilton & Gelatin silver print Lady Bridget Poulet, 1928 Image: 27.9 × 21.6 cm (11 × 8 1/2 in.) Gelatin silver print The J. Paul Getty Museum, Los Angeles Image: 48.7 × 35.1 cm (19 3/16 × 13 13/16 in.) © Horst The J. Paul Getty Museum, Los Angeles 84.XM.196.4 © The Cecil Beaton Studio Archive at Sotheby's 84.XP.457.16 June 21, 2018 Page 1 of 3 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/collection/ © 2018 J.
    [Show full text]
  • Financial Times Friday 5 September 2003 P. 10 'I'm So Ugly and Awful. I
    Financial Times Friday 5 September 2003 p. 10 ‘I’m so ugly and awful. I’m like a monster’ Juergen Teller has turned his unblinkingly probing camera on himself, with results that are revealing both for viewers and for himself, says Charlotte Mullins It is unnerving to be interviewing a man you have previously seen in the buff. Whether coming out of a sauna, smoking on a football pitch or posing in his mum’s front room in Bavaria, Juergen Teller is always resolutely naked, his appendix scar, penis and paunch dewy with sweat, his eyes bleary, his hair mussed up. Teller’s nude self-portraits formed part of his winning Citibank Photography Prize exhibition at the Photographers’ Gallery in London earlier this year and are included in all his recent books. Gazing at dozens of these black-and-white prints before meeting him in the flesh, I came to feel as if I knew him, in all his imperfect glory, and to admire him for exposing his own form to the kind of scrutiny he usually reserves for supermodels and celebrities. But, as his forthcoming exhibition Don’t Suffer Too Much shows, these nude self-portraits actually reveal less about him than a simple film of him sitting, fully clothed, watching a football match. Teller is one of the most fêted fashion photographers of his generation, regularly shooting campaigns for designer Marc Jacob and features for Vogue. His starkly honest photographs expose his desire to capture the raw soul of every person he photographs and his books are filled with images of Kate Moss as a peroxide-haired blank canvas, Charlotte Rampling trashed in a hotel lobby and Yves San Laurent looking for all the world like a waxwork dummy.
    [Show full text]
  • Cindy Sherman
    Cindy Sherman Bibliographie / Bibliography Bücher und Kataloge / Books and catalogues 2019 Moorhouse, P.: ‘Cindy Sherman’, National Portrait Gallery, London. 2018 Hilton, A. et al., ‘Strange Days: Memories of the Future’, New Museum of Contemporary Art, New York. Friedewald, B.: ‘Women Photographers: From Julia Margeret Cameron to Cindy Sherman’, Prestel, New York, USA 2017 Ardaouil, S., Fellrath, T: ‘Ways of Seeing’, Arter Museum, Istanbul. Berne, B., Bonami, F.: ‘Cindy Sherman: Once Upon a Time, 1981-2011’, Mnuchin Gallery, New York. Butler, D. S.: ‘50 Years Highlights’, Binghamton University Art Museum, Binghamton. Cosulich, S.: ‘Think of this as a Window’, Mutina for Art, Fiorano. Etgar, Y.: ‘The Ends of Collage’, Luxembourg & Dayan, New York. Hoffmann, J.: ‘The ARCADES: Contemporary Art and Walter Benjamin’, The Jewish Museum, New York and Yale University Press, New Haven and London. Lebart, L.: ‘Les Grands Photographes du XXe Siécle’. Larousse, Paris. Lembke, K., Felicitas Mattheis, L.: ‘Silberglanz. Von der Kunst des Alters’, Landesmuseum Hannover, Hannover. ‘Life Word’, Collección CIAC, A.C. Mexico City. Luckraft, P.: ‘You Are Looking at Something that Never Occurred’, Zabludowicz Collection, London. Manné, J. G.: ‘Unpacking: The Marciano Collection’, Delmonico Books/Prestel, Munich, London, New York. ‘Nude: Masterpieces from Tate,’ Tate and Seoul Olympic Museum of Art, London and Seoul.. Phillips, L.: ‘40 Years New’, New Museum, New York. Van Beirendonck, W.: ‘Powermask – The Power of Masks’, Lannoo Publishers, Tielt, and Wereldmuseum Rotterdam, Rotterdam. 2016 Bethenod, M.: ‘Pinault Collection 07’, Pinault Collection, Paris. Berne, B., Sherman, C.: ‘Cindy Sherman’, Hartmann Books, Stuttgart. Berne, B., // Wallace, M., Buttrose, E., Leonard, R.: ‘Cindy Sherman’, QAGOMA, Brisbane.
    [Show full text]
  • Print Condition NEW YORK — Quirky Prints and Vivid Colors Were Key Runway Trends on Both Sides of the Atlantic, and J
    FavoriteThe Fashions FromInside: Milan Pg. 12 COUNTERFEIT SCENT BUST/2 KOOBA’S INVESTORS/2 WWD WWDWomen’s Wear Daily • TheTHURSDAY Retailers’ Daily Newspaper • October 18, 2007 • $2.00 List Sportswear Print Condition NEW YORK — Quirky prints and vivid colors were key runway trends on both sides of the Atlantic, and J. Crew’s Jenna Lyons was smart to get in on the act. The creative director is right on target with her spring collection, which is fi lled with fl irty little numbers like this paisley-print linen frock. For more, see page 8. After Nixing Sun Bid, Kellwood Could Face Shareholder Pressure By Whitney Beckett he heat on Kellwood Co. is expected Tto intensify. Following the $1.96 billion company’s rejection Wednesday of a $543 million bid by Sun Capital Securities Group LLC, analysts and consultants said the firm now has to prove to shareholders that it can turn around its operations and boost its lagging share price — and do it fast. The St. Louis-based company said in a statement Wednesday that Sun Capital’s $21 a share bid “significantly undervalues the strength of Kellwood’s expanded portfolio of brands and the See Kellwood, Page13 PHOTO BY ROBERT MITRA ROBERT PHOTO BY 2 WWD, THURSDAY, OCTOBER 18, 2007 WWD.COM Kooba Partners With Private Equity Firm ontemporary luxury designer brand Kooba has a cessories line earlier in the year. new equity partner via Swander Pace Capital. As for the product exten- WWDTHURSDAY C Sportswear The private equity fi rm, which made an undis- sions, Held said the company closed investment in the women’s handbags, acces- started its women’s apparel line sories and apparel brand, is the majority stakehold- with leather jackets because the GENERAL er in the company.
    [Show full text]
  • Juergen Teller What’S Wrong with the Truth? Ira Stehmann
    JUERGEN TELLER WHAT’S WRONG WITH THE TRUTH? IRA STEHMANN “Whenever I work with plates, then it is always a self-portrait as well.” JUERGEN TELLER In the 1990s, Juergen Teller, among a squad of Through Venetia Scott, a well connected stylist at that they give him the freedom to take photographs diameter, on which the artist had his iconic images Such is the portrait of Yves Saint Laurent commis- The Nicola Erni Collection, along with four other like-minded young photographers such as the time, he made contacts to the fashion industry. which are true, witty, and are based on unusual ideas. printed, feature portraits of Kate Moss, Yves Saint sioned for Dazed & Confused magazine in museums, is the fifth institution to showcase Teller’s Corinne Day, Nigel Shafran, and Wolfgang Tillmans, Both not interested in glamor and perfection, the pair Teller worked on commercial campaigns for Marc Laurent, and Karl Lagerfeld, to name just three. 2000. It was taken at the occassion of the design- plate works. On view is a small selection of plates created a furor with his straightforward documentary was looking for unknown models who did not match Jacobs since 1998 for over a decade, offering some The plate depicting Kate Moss, the great fashion er’s last haute couture fashion show. Teller had which thematically focus on fashion and celebrity. style and anti-glamor-photographs, insisting upon the canon of beauty of the “supermodel” era. In the of the most celebrated and challenging concepts in legend of the nineties, shows her slightly faded fuchsia five minutes to take Yves Saint Laurent´s portrait Tellers’s oeuvre is broader than that and comprises creating a narrative that appeared to go beyond early nineties the duo won its first assignments from advertising each season.
    [Show full text]