Published by Steidl. Edited by Stephanie Buck, Linda Conze, Rebecca Wilton. Text by Bertram Kaschek, Christina Natlacen, Steffen Siegel. Conversation by Linda Conze, Rebecca Wilton.
German photographer Timm Rautert’s (born 1941) Bildanalytische Photographie (Image-Analytical Photography) highlights the fundamental conditions of photographic work—from the photographic act and the development of photographic images under an enlarger in the lab to the various possibilities of presentation. A systematically elaborated ensemble of analog black-and-white and color photographs, of image-text compilations, and of manuals and photographic material provokes elementary questions about what photography means as a medium, what is expected from it, and how it has shaped the perception of the world.
Black-and-white photographs, passport photos, lab experiments and combinations of selected photo prints with their negatives are found here among Rautert’s 56 works, but also nonphotographic material such as a gray card (used for measuring light mainly in photo studios), postcards and graphic manuals. Each work becomes an element of “analysis” showing the numerous potential scenarios of photography.
Published by Steidl. Text by Oskar Negt, Timm Rautert, Birgit Kulmer, Stefan Koldehoff.
Beginnings presents a portrait series begun in 2007 by German photographer Timm Rautert (born 1941), in which he photographs his students with their partners and young children within their apartments. Exploring the concept of a modern-day holy family, each of these middle-class families is presented as a triptych.
German photographer Timm Rautert’s (born 1941) 1974 series Germans in Uniform presents a range of Germans in their professional attire. This expanded English version of the 2006 publication includes biographical information and quotations from each of Rautert’s subjects, resulting in a complex portrait of postwar Germany.
Timm Rautert (born 1941) met Josef Sudek for the first time on a study trip to Prague in the spring of 1967. The photography student and the 71-year-old Sudek—who was arguably the most important Czech landscape and still-life photographer of the 20th century and a cult figure in his native country—instantly took to each other, and Rautert began photographing the artist in his studio and at his home. He accompanied him on his strolls in parks in Little Prague on the left bank of the Vltava river as he searched for adequate perspectives, and documented his work process inside and outside the darkroom. First published in 2008, the Sudek series, here compiled in this new volume, is an extraordinary chronicle of a fascinating personality and place in the run-up to the Prague Spring, and marks the beginning of Rautert’s career, during which the portrait and people at work were of particular importance to him.
Published by Spector Books. Edited with text by Stephanie Buck. Text by Linda Conze, Rebecca Wilton.
Timm Rautert’s Image-Analytical Photography cycle may be considered one of the key photographic works of the 1960s and 1970s. It was produced at a time of radical discourse about the role of art in society. Drawing on the influence of conceptual art, which was still in its infancy at the time, Rautert focused on the conditions surrounding his own creative process, the question of authorship, original and copy, and the role of the viewer. His cycle of works deals with issues that, in view of the technical means photography had at its disposal and its notional claim to depict the world realistically and truthfully, assumed particular importance and urgency—as they still do today, especially given the digital image worlds that we now occupy. The book is published in conjunction with the exhibition Bildanalytische Photographie, 1968 –1974 at the Kupferstich-Kabinett Dresden (July 1st to September 25th, 2016), where the entire cycle was presented for the first time.
In 1974 the young Timm Rautert travelled to Pennsylvania to photograph those who would normally not allow themselves to be photographed: the Amish, a group of Anabaptist Protestant communities. Four years later Rautert returned to America, this time to the Hutterites who live so stringently by the Ten Commandments and the bible's restrictions on images that they have their identity cards issued without photographs. Both these two series were influential on Rautert's later work and No Photographing brings them together for the first time.
Published by Steidl/Museum der Bildenden Knste, Leipzig.
Timm Rautert has been an experimental photographer, a photojournalist, a portraitist and, since 1993, a professor. Following his 1974 book, Deutsche in Uniform, recently reissued, he has continued to photograph his countrymen, devoting much of his time to extensive series, including one from the Frankfurt Stock Exchange in 2000. When We Don't See You You Don't See Us Either refers in title to the portraitist's vocation of seeing and being seen, and offers Rautert's career for the same defining scrutiny, a portrait of its own. This definitive portfolio spans more than 35 years of distinguished work, much of which has never before been published for English-language audiences.