This substantial book embraces the history of street photography as social and cultural document. Generously illustrated with black-and-white photographs as well as a small selection of color images, the book touches upon the work of acknowledged masters such as Henri Cartier-Bresson, Andre Kertesz, Paul Strand, Bill Brandt, Manuel Alvarez Bravo, and many others. Farm Security Administration photographers, including Walker Evans and Dorothea Lange, also receive their due along with contemporary American photographers Weegee (Arthur Fellig), Gary Winogrand, Lee Friedlander, Diane Arbus, and Helen Levitt-to name just a few. This ambitious effort is perhaps most successful in bringing together the work of these classic photographers in a thoughtful, coherent study of this fascinating genre of photography. Westerbeck is associate curator of at the Art Institute of Chicago and Meyerowitz is a photographer (Bay/Sky, LJ 12/93). Highly recommended, especially for large public libraries and academic libraries. - Raymond Bial, Parkland Coll. Lib., Champaign, Ill.
“This long-awaited book by two noted figures of the world of photography – the photographer Joel Meyerowitz and the critic and curator Colin Westerbeck – deals with one of the most interesting photographic genres of the twentieth century. All those who wish to understand the medium will be interested in what they have to say.” – John Szarkowski
“This exemplary book offers a history at once scholarly and highly readable.”
- Los Angeles Times Book Review
“Bystander is a long-awaited and much-needed critical survey of one of the central currents in twentieth-century art. It’s the ‘missing chapter’ in the story of photography in our time, and Messrs. Meyerowitz and Westerbeck know it from the inside out.” – Andy Grundberg
“Bystander covers an incredible array of talent, introducing us to unknowns and offering a fresh look at the most famous, from Atget and Stieglitz, through Lartigue and Cartier-Bresson.” – Photo District News
“At last we have a history of street photography which offers great scope, combined with high intellectual standards, lucid writing, and a critical spirit…Sparkling with new ideas and shrewd assessments, Bystander also has wonderfully selected pictures. It redefines a genre.” – Max Kozloff