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Names and No-Names in Photo History 
  

When more than a 150 years ago photography was born, a new language was born, allowing us to create a new form of visual communication. This language is not limited to certain territories, as much as anybody, who likes to suppress information, would wish that - it is a universal language and a huge amount of visual messages is flooding our world and makes us believe we are part of everything that happens, as long as we‘re willing to look at those images.
 
From the beginning photographers tried to cover every aspect of our life. The results became a major part of our culture and are a large contribution to our collective memory. All themes and subjects having been covered before through painting and drawing are being interpreted and partially reinvented by this new media again, as the boundaries of what to be shown public and not are being pushed constantly to new limits - yet in almost any country censorship of different grades is still an issue.
 
The constant flow of new developments in technology has been and is offering almost unlimited possibilities to express a creative idea and make photography highly attractive to more and more artists. As a result photography started developing its own distinctive role in art. And yet - it took more then 100 years before photography slowly became accepted as an art form as well. Today it is part of any reputable art institution and artists use it as a challenging discipline, which offers a huge potential to experiment with - and interaction between the different disciplines is common. Collectors are willing to pay huge amounts for iconic results of this discipline at auctions and nobody doubts anymore the importance of photographs within a museumís collection.
 
The exhibition at the OMC Gallery reflects a variety of positions in photography, covering almost 150 years. Some images are icons in Photo History, while others, despite their quality, never made it into the public awareness. Rather than the fame of the photographer (although it includes e.g.: Beato, Cartier-Bresson, Bravo, Bristol, Chapman, Horst, Korda, Sudek), the visual ideas of the images, their documentary value, their visual impact, their statement about a certain period or last, but not least their quality as a piece of art have been important for the selection. 
  

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