Professor emeritus
 Ake Daun
wrote in the paper Folket, on the 29th of March, 1963:
"He calls himself a photo-graphic artist,
a union of photographer and graphic artist.
He has successfully managed - it sounds like a dream - to combine photographic methods with free artistic creativity.
 From this technological platform, Sjolander takes us
 along on trips to reality,  but along other roads
than the ones we have tread before."


In the afternoon paper Expressen, Katja Walden wrote 1965 ;

"  the artist has reached his goal, already when we react,

when something happens between us and the photograph.

 After Ulf Linde, in the year of pop art and a couple of months

after the New York-nights, everything is still possible.

 Ture Sjolander has made something happen in the area of photography."

The publishing firm Nordisk Rotogravyr published a so-called expo-book, with pictures from the exhibition.
Erland Törngren wrote in the paper Arbetaren 1964 ;

"His images make most of what we saw the other year, at the ambitious exhibition

'Swedish people as seen by 11 photographers,' look medieval.

 'You have been photographed' is one the bravest attempts of a coup,

one of the boldest opening moves,  that has ever hit Swedish photography."


On April 24, 1965, in the paper Kvällsposten Malmo, Sjolander asked:

 "Why do pictures have to be translated into words?"

On July 6, 1965, Bengt Olvång wrote in the morning paper Stockholms Tidningen:

 "Ture Sjolander's television appearance is characterised by a warm humaneness and a bizarre, uproarious sense of humour. One of its most 'shocking' features is composed of a grand piece of Vivaldi music, illustrated by a little boy who is picking his nose. However, what is really most shocking, is the way in which the Broadcasting Corporation is acting. Heads of department become self-appointed censors, and in the name of 'The Swedish People', they erase program features, such as Sjolander's TV film. The thought of letting opinions and values develop freely is totally foreign to them. The broadcasting monopoly watches over people's opinions and hinders all attempts at moving in any radical direction."

Jonas Sima wrote in the morning paper Stockholms Tidningen, on October 23, 1965:

"Sjolander also has opinions and a social temperament.

 He has produced the kind of film I want to watch - and produce."

On October 28, 1965, Mauritz Edström wrote in the morning paper Dagens Nyheter:

 "He is simply testing our attitudes in relation to the photography, by placing it in unexpected contexts. When he places his enlargements on billboards and then films them, the result is really challenging: what resources of expression can't we find lying idle under the old cobweb of conventional views on pictures!"

Alf Nordström
of the morning paper Dagens Nyheter wrote 1964:
 "All those who like pretty and well-behaved photo-art are seriously warned
against having a closer look at this exhibition.
It offers howls and grimaces, cross-eyed faces and horror studies of the female flesh.
But all those who are interested in seeing a photographer entering
the current cultural debate, should not neglect seeing
The exhibition has a very liberating feel to it.
Its nihilism leaves a burning imprint on your retina and the
conventional images are burned away.
Your eyes begin to see anew."

at the 5th Biennale in Paris, in the fall of 1967. Pierre Restany - one of Europe's most respected art critics - wrote that unfortunately he was unable to attend the whole event because of a journey to South America, but had to settle for the last few days:
"But better late then never. Sjolander's works struck me with their absolute modernism.
I was also struck by his acute instincts, his poetic use of the technology of the mass-medium - an iconographic liberation on the level of information technology - all in the language of the masses.
Sjolander's works of art, which combine art and technology, become an attempt to preserve our poetic survival.
It is a truly humane, or rather humanistic achievement, in the modern sense of the word."