Juergen Teller: Go-Sees: Girls Knocking on My Door

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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. Dazed (23 May 2016). "Why Juergen Teller puts himself in his photos". Dazed . Retrieved 13 March 2019. What do these girls want? Indeed, what do we want from them? Rather than wondering why Vesna has no eyebrows, or how old Lynsey is, or whether Lauren has eaten anything in the last six months, we just assume – because of the endless repetition of vaguely pretty girls – that their images are no more related to any tangible, palpable reality than is the impossible bosom of Lara Croft. Besides, in truth we have no need to ask these questions, as we already know what the answers will be. Of all the mythical exercises particular to the fashion industry – press days, call-ins, re-sees, walk-throughs – go-sees might be among the most obscure. And yet the process, in which emerging models visit established fashion photographers or magazines in the hopes that they might be recruited for a shoot, is as familiar now as it was in the mid-to-late 1990s when, over a 12-month period, photographer Juergen Teller set out to document those he himself experienced.

JUERGEN TELLER: MACHO - DESTE Foundation for Contemporary Art - Athens - Greece". deste.gr . Retrieved 13 March 2019. Since the beginning his career in the late 1980s, Teller has blurred the boundaries between his commissioned and personal work in his numerous campaigns, editorials, publications and exhibitions. Teller treats all of his subjects — family members, celebrities, and himself with a uniform style of grit, raw emotion and humour that has become his iconic and recognizable aesthetic. [3] Shown concurrently in the smaller exhibition room, Enjoy Your Life! Junior is the result of a school-led outing by 6 and 7-year-old students of Bubenreuth Primary to see Teller’s exhibition Juergen Teller at Kunstpalais in Erlangen (2017). An unusual exhibition to take primary school students to, the children were surprised and inspired by the honesty in Teller’s work. Reversing the situation of Go-Sees, Teller responded to the students’ enthusiasm with a spontaneous visit to the school during which he encouraged them to take photographs of each other and the artist himself. Subverting the conventional relationship of the artist and model, the children playfully re-enact some of Teller’s most iconic images.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.

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. A ‘go-see’ is fashion industry slang for a would-be model who may or may not be worth engaging. The go-sees that Teller has photographed in the doorway to his studio since mid-1998 are not professionals but young women who have embraced the appearance and ideology of the world of fashion, and who decorate and deport themselves in a simulacrum of some form of ‘authentic’ model status. Ironically, and some could argue unhappily, the supermodels that these girls have attempted to emulate are themselves as far removed from any real notion of womanhood as Pot Noodle is from a square meal. However, behind these works are a number of serious artistic projects, whereas Teller has admitted that, though it is important to him to create photographs that ‘leave your imagination free to think about what kind of life this person leads’, he also ‘enjoy[s] taking pictures of a girl in – and out of – clothes.’ 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. Dazed (25 January 2017). "See Juergen Teller's new visuals for adidas". Dazed . Retrieved 13 March 2019.

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. In his time, Teller has shot naked pictures of Helen Mirren, Vivienne Westwood, Lily Cole, Lara Stone and himself – many times. But as he points out, ​ “within the percentage of nudes in the book, it’s actually not so much.” 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 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.

Céline Fall Winter by Juergen Teller". Design Scene - Fashion, Photography, Style & Design. 22 August 2010 . Retrieved 13 November 2018. It made asweet photo. Anaked Teller cradled like achild by Rampling, who had bed sheets pulled up over her chest. ​ “That was awonderful photograph and awonderful experience. We’re still friends,” he says. 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.Icons of Style: A Century of Fashion Photography 1911-2011, J. Paul Getty Museum, Los Angeles, USA (2018) In 2016, Teller curated an exhibition of Robert Mapplethorpe's photographs at Alison Jacques Gallery in London where he selected 58 images from the Mapplethorpe Foundation collection. [19] Personal life [ edit ] Werkübersicht::: Sammlung Museum für Moderne Kunst Frankfurt am Main". Museum für Moderne Kunst . Retrieved 12 January 2021. AnOther (24 November 2017). "When Juergen Teller Photographed 1990s Go-Sees". AnOther . Retrieved 12 January 2021. 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.

Teller was Professor of Photography at the Academy of Fine Arts in Nuremberg from 2014 to 2019. [18] Curating [ edit ] 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) 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.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. The Go-Sees is a seminal work from Teller’s early career. Produced over the course of one year from May 1998, and shot from the threshold to Teller’s West London studio, the title of this series documents an industry term for a photographer’s first meeting with a new model. Unlike a casting, the ‘Go-See’ is a model’s testing ground; an open-ended encounter between the photographer and model, without the prospect of a definite commission. Like casting appointments, these events determine the potential career success for the model. Teller’s series obliquely interrogates the fashion industry with which he is involved. Tozer, John (1 December 2014). "Juergen Teller: "Go-Sees" (2000)". Contemporary Visual Arts . Retrieved 12 January 2021. This is what she says,” Teller says about his friend. ​ “My understanding was that she went to the Versace job, they tried to put the zipper up and it cut into her flesh, and that became the scar [Teller points to the red scar on her torso].” McMenamy went to show Teller, drew the now-famous Versace emblem and that was that. Magic was made in the midst of the ​ ’90s realism movement. Vacant stare, no touch-ups, no airbrushing and, in this case, no clothes.