Guys, I read the NYT article to see what the fuss is about. Kozloff certainly deserves serious negative criticism for his essentialism. That street photography is a Jewish thang is so clearly absurd. I agree with Times writer Woodward that a more interesting and legitmate approach would be to examine the work of all kinds of marginalized people. Who was doing tight-ass, Modernist salon art and who wasn't? The following quote is from Bystander - A History of Street Photography by Westerbeck & Meyerowitz: *********** Of all the Street photographers who have worked in New York, from Riis to Weegee and Model, from Robert Frank and William Klein to Garry Winogrand, the only one whose pictures don t seem alienated is Roy DeCarava. There is a certain irony in this, since DeCarava, a black man, might have had better reason than anybody else to feel dispossessed, bitter, and cynical. He doesn t feel that way, because he is the one photographer who is truly at home in the city, or at least in the part of it where he photographs, Harlem. He was born there in 1919, in Harlem Hospital, and has stayed in the neighborhood all his life. DeCarava is such an anomaly that for once comparison to a Parisian seems appropriate. He has found in New York the appealing working-class atmosphere that we think of as belonging only to the ban lieux of Paris. He is our American Doisneau. ************* AZ Maker of Lookaround panoramic camera. http://www.panoramacamera.us or keyword.com lookaround
