Hunger: Epilogue — Michael Ackerman Photobook, Second Edition
Hunger: Epilogue is a Michael Ackerman photobook published by Void as the concluding volume of their Hunger series. This second edition is a re-sequenced and expanded version of the original, incorporating new material drawn from across Ackerman's archive. It is printed on newspaper paper in an edition of 1800 copies.
About the Work
The images in Hunger: Epilogue span from Ackerman's early work on End Time City through photographs that remained unpublished. The visual language is consistent throughout: blur, abrasion, loss of resolution, and an insistent closeness to the subject. These are not images that maintain distance. They press against their subjects and against the surface of the paper, reading less as documentation than as residue.
The second edition tightens the sequence while adding material not present in the first, giving the book a denser internal logic without altering its essential character. A text by filmmaker Jem Cohen is included. It does not explain the photographs. It sits alongside them as a separate register — an insider account that functions as counterweight rather than commentary.
Publisher
Void Photo is a Greek publisher with a sustained focus on photography and artist publications. Their output consistently engages with the materiality of print, and the Hunger series is among their most sustained editorial commitments. Michael Ackerman's work has found in Void a publisher whose production values — rough newsprint, oversized fold-outs, constrained print runs — suit the abrasive character of his image-making.
This title is part of the Photobooks catalogue at Lokator100.
About Michael Ackerman
Michael Ackerman was born in 1967 in Tel Aviv. He is known for a photographic language built on blur, abrasion, and the deliberate erosion of documentary distance. His first book, End Time City (Delpire, 1999), marked his emergence as a distinct voice in contemporary photography. It was followed by Fiction and Half Life.
Ackerman's work returns persistently to memory, place, and the emotional charge embedded in degraded or damaged images. He treats the imperfect surface of a photograph not as a failure of technique but as a carrier of meaning. His images resist the clean resolution associated with conventional documentary practice.
He lives and works in Berlin and is represented by Camera Obscura Galerie in Paris.
