The December/January edition of Vogue featuring photos of Rihanna by Jurgen Teller (image via @_reneebu)

Controversy unfolded on Twitter over the weekend as users noticed a striking similarity between photographer Juergen Teller’s months-old Rihanna photoshoot for Vogue Paris and the signature aesthetic of artist Mickalene Thomas. The issue here seems more than pure coincidence; both artists are represented by the same gallery, Lehmann Maupin, making it highly unlikely that Teller could plead ignorance to appropriating Thomas’ style.

Although Teller is primarily known as a fashion photographer, Lehmann Maupin represents his fine art practice. In a statement given to Hyperallergic, the gallery clarified that they were not consulted or involved in his work for Vogue Paris.

One of the Teller images circulating that show the clear influence of Mickalene Thomas (via @STEVEJXSEPH)

“We will continue to represent Juergen in this capacity and are hopeful that there will be a resolution between these two artists. As we have publicly stated, we wholeheartedly stand behind Mickalene Thomas and her signature aesthetic,” the gallery added.

Thus far, Teller has chosen not to make a comment. The wider-released statement by the gallery is below:

In response to the images of Rihanna by Juergen Teller in the December 2017/January 2018 issue of Vogue Paris, which have rightly been compared to Mickalene Thomas’ work, Lehmann Maupin wishes to share the following statement:

Mickalene Thomas’ prolific body of work has been instrumental in addressing inequality within art history and art institutions through her representation and reclamation of traditional art historical genres and depictions of beauty and desire around the female body, particularly Black women, who have too long been marginalized in our culture. Throughout her career, Mickalene has developed an internationally recognized visual language that is deeply rooted in photography but encompasses collage, painting, video, and immersive installation. Mickalene has earned the right to be recognized and commended for her ground­breaking contributions to contemporary art and visual culture, and for a signature aesthetic that she has been cultivating for decades. As Mickalene’s long­time gallery and advocate, we vigorously stand by her in defending the originality of her work.

Over the past few years, Thomas has gained notoriety as one of this generation’s leading American artists. Just a few months ago, she starred alongside legendary artists Robert Colescott and Kerry James Marshall in the Seattle Art Museum’s Figuring History exhibition.

Mickalene Thomas, “A Little Taste Outside of Love” (2007), acrylic, enamel, and rhinestones on wood panel, 108 × 144 in. (courtesy of Brooklyn Museum)

Even a casual viewer of Teller’s work will observe the photographer’s similar use of patterns and textures akin to those Thomas’ has employed in her work. The visual collaging of these textiles weaves a deep narrative of African-American culture within art history. There are also many sly references to the work of important African artists and photographers, like the Malian artist Seydou Keita. Accordingly, Teller appropriated these references in Thomas’ work for his Vogue Paris photoshoot, but it’s unclear if he understood exactly where these references were coming from.

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Zachary Small

Zachary Small was the senior writer at Hyperallergic and has written for The New York Times, The Financial Times, The Nation, The Times Literary Supplement, Artforum, and other publications. They have...

6 replies on “In Rihanna Photoshoot for Vogue Paris, Juergen Teller Cribs Imagery from Mickalene Thomas”

  3. This is ridiculous, as you can’t copyright a “signature aesthetic”. Thomas herself owes a lot to both Matisse and Seydou Keita.

  5. One could also argue that Thomas “appropriates” the style of Romare Bearden who, in turn, borrowed from Picasso and Matisse. I think people are confusing their legitimate outrage about the vast difference between the recognition and monetary value assigned to black versus white creativity with the way stylistic inspiration/influence actually works. Part of the problem is a promiscuous use of the term “appropriation,” which has pejorative connotations for most people (although I recall a period in the early 1990s when “appropriation art” was all the rage in avant-garde museum and gallery circles).

  6. One could also argue that Thomas “appropriates” the style of Romare Bearden who, in turn, borrowed from Picasso and Matisse. I think people are confusing their legitimate outrage about the vast difference between the recognition and monetary value assigned to black versus white creativity with the way stylistic inspiration/influence actually works. Part of the problem is a promiscuous use of the term “appropriation,” which has pejorative connotations for most people (although I recall a period in the early 1990s when “appropriation art” was all the rage in avant-garde museum and gallery circles).

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