(...) Ackerman explains, with the directness that makes him his own best commentator: »I think that the need to photograph comes from the need to hold on to what's most important to you. You live with an awareness that's everything's going to go away and that the things that most powerfully move you are the ephemeral. It seems natural that if photography can do anything, it can somehow get at that - remind you of what you felt.«
(...) When I pointed out that this was quite a remarkable transformation of the camera, from an instrument that records informations to one that records feelings, Ackerman cited the observation of a friend, the photographer Sarah Moon: »She said that I always press the button at the wrong time. I related right away, because I've always pressed the button in the awkward moments, or in the moment in between moments, the time in between the times. And that's why the pictures have always been a surprise to me because it's in those instances of transition that something unexpected is revealed, something you sensed but didn't see.« (...)
Extracts from the article by Miriam Rosen »What was there and what I felt - The pictures of Michael Ackerman«, in: Art on Paper, New York, Jan. Feb. 2002, pp. 48-53
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.
(...) Ackerman explains, with the directness that makes him his own best commentator: »I think that the need to photograph comes from the need to hold on to what's most important to you. You live with an awareness that's everything's going to go away and that the things that most powerfully move you are the ephemeral. It seems natural that if photography can do anything, it can somehow get at that - remind you of what you felt.«
(...) When I pointed out that this was quite a remarkable transformation of the camera, from an instrument that records informations to one that records feelings, Ackerman cited the observation of a friend, the photographer Sarah Moon: »She said that I always press the button at the wrong time. I related right away, because I've always pressed the button in the awkward moments, or in the moment in between moments, the time in between the times. And that's why the pictures have always been a surprise to me because it's in those instances of transition that something unexpected is revealed, something you sensed but didn't see.« (...)
Extracts from the article by Miriam Rosen »What was there and what I felt - The pictures of Michael Ackerman«, in: Art on Paper, New York, Jan. Feb. 2002, pp. 48-53
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