Foremost among a generation of photographers operating between fashion photography and art photography, Juergen Teller (born 1964) brings his energized, life-loving brashness to family photographs, self-portraits and fashion shoots. Teller often provokes his subjects to extremes of expression, as critic Adrian Searle records in this, Teller’s newest monograph: “I kept wondering when he was going to get round to taking my photograph. The tension was unbearable. I felt like a girl on an unsuccessful date. The next thing I know he’s almost climbing over the table to get at me. There’s a camera in my face and he’s shooting picture after picture after picture, looming closer with each shot… There’s a gleam in his eye and a smile and there’s something relentless about his advances.” Teller applies this lust for encounter and complete involvement to the production of his books, and the beautifully printed Calves and Thighs is no exception: “I consider this catalogue a piece of my work,” he writes, having carefully determined the photographs (all new work), the authors and the design. Alongside Teller’s latest photographs, collaborators, friends and admirers such as Nobuyoshi Araki, Sadie Coles, Roni Horn, Marc Jacobs, Karl Lagerfeld, Helmut Lang, Charlotte Rampling, Adrian Searle, Gerhard Steidl, Neville Wakefield, Vivienne Westwood and Raquel Zimmermann pose questions to Teller about his process, his career and his life.

Juergen Teller: Calves & Thighs

Arts & Photography

Wombell, Paul

Searle, Adrian

Teller, Helmut

Paineau, Fabrice

Individual Artists

TF Editores/D.A.P.

The painting of Sean Scully (born 1945) has a fascinating relationship to place. Born in Dublin, Scully began his career as a figurative painter in London, in the years when Freud and Bacon still dominated Britain’s art climate. A trip to Morocco converted Scully to abstraction: “It was the endless potential in the rhythm and structures of the visual world there that moved me,” he says, of its Arabic visual character. As his painting slowly gravitated towards abstraction, Scully realized that New York was the city in which he would most fruitfully develop, and moved there in 1975. He attributes his first New York series, Horizontals, to his apartment’s view of the city and the Hudson river. In spring 2012, Scully’s art is reunited with the Arabic culture that first inspired his embrace of abstraction, at the stupendous Moorish fort-palace in Granada, the Alhambra. The exhibition and this accompanying catalogue are divided into three parts: seven large paintings from the Wall of Light series; a set of 40 watercolors; and three photographic series, which intriguingly illuminate Scully’s image-making process--Aran, Santo Domingo for Nene and Alhambra, the latter of which is published here for the first time.

Sean Scully: Light of the South

Throughout her long life, Imogen Cunningham was tireless and exemplary in her pursuit of new developments in photography and in the expansion of her own practice. An inspiration to several successive generations, she reinvented the genres of botanical photography, street photography, nudes and portraiture, and expanded the possibilities of the double exposure. This publication celebrates the rich diversity of this modernist pioneer, covering Cunningham’s entire seven-decade career--from her abstract shots of plants and nudes and optical illusions created using techniques such as inverted positive/negative images and double exposure, to her iconic portraits for Vanity Fair of artists, dancers, actors, musicians and writers such as Man Ray, Alfred Stieglitz, Martha Graham, Frida Kahlo, Gertrude Stein, Morris Graves and Merce Cunningham. The selection also includes many rarely reproduced works, plus essays by Celina Lunsford, curator of the exhibition, Jamie M. Allen and Marisa C. Sánchez, an illustrated chronology and selected bibliography. Born in Portland, Oregon, Imogen Cunningham (1883–1976) chose at an early age to become a photographer and a working woman outside the home--choices that were profoundly bold for a woman of her generation. Around 1905-06, she purchased a 4 x 5 inch camera. After completing studies at the University of Washington, and the Technische Hochschule in Germany, she married, living first in Seattle and later in San Francisco, where--with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke and Edward Weston--she cofounded Group f/64, which practiced the conceptual constraint of unmanipulated photography. In 1945, Adams Cunningham joined the faculty of the California School of Fine Arts. She continued to take photographs until shortly before her death at 93.

Imogen Cunningham

Lunsford, Celina

Jamie M. Allen

Sánchez, Marisa

Photography & Video

End Times

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