Juergen Teller (b. 1964, Erlangen, Germany) studied at the Bayerische Staatslehranstalt für Photographie in Munich, before moving to London in 1986. Considered one of the most important photographers of his generation, Teller has successfully navigated both the art world and commercial photography since beginning his career in the late 80s.Read More
Teller was the recipient of the 1993 Photography Prize at Festival de la Mode, Monaco, and the 2003 recipient of the Citibank Photography Prize in association with the Photographer’s Gallery, London. In 2007, Teller represented the Ukraine as one of five artists in the 52nd Venice Biennale.
His work is included in numerous collections around the world, including the Fondation Cartier pour l’art contemporain, Paris; International Center for Photography, New York; Pinchuk Art Centre, Kiev; and the Victoria & Albert Museum, London, among others. The artist lives and works in London, England.
Recent solo exhibitions include Touch Me, at Le Consortium, Dijon (2010) and Daelim Museum, Korea (2011); Man with Banana, Dallas Contemporary, Texas, curated by Peter Doroshenko (2011); and Irene Im Wald, The Journal Gallery, Brooklyn (2012), among others. In 2012, renowned curator Francesco Bonami organized Juergen Teller’s first solo exhibition in Italy. Installed in the majestic reserve apartments of the Palazzo Reale, The Girl With the Broken Nose comprised nine photographs of monumental proportion. Each measuring six feet by ten feet, the works on view were the artist's largest to date. In January 2013, the Institute of Contemporary Art, London opened a retrospective of the artist’s work.
Juergen Teller's new exhibition Zittern auf dem Sofa, which recently launched in Moscow to coincide with the 2018 FIFA World Cup, translates as trembling on the sofa. For those who don't genuflect
Photography has been around for less than two centuries; yet in a short span of time, in comparison to other forms of image making, there have been astounding leaps in the understanding and appreciation of the photographic image. In its first century, photography was commonly rejected as an art form on the basis of its mechanical nature. Yet as...