One might say the same thing about some of Helmut Newton's works of which I am a fan.
That's a bit contrary, too. Helmut was into fashion and obsessed, by his own account, with the decadence of a certain level of wealthy Berlin society, an obsession that informed a great deal of his life's work. (His tenure with British Vogue was relatively brief, and I suspect that it was due to the different cultures of London and Paris, with Paris far more welcoming to his ways. God knows how he got on in Australia!)
Apparently, he came from that level of German society, and so it's not odd that it called out to him even after the family and it's fortunes were destroyed due to the intellectual cancer going down in that country and elsewhere. If there is a positive side to persecution, it's that it spread the Jewish diaspora far and wide, giving places such as the States a wealth of artistic talent it might never otherwise have managed to cultivate.
I have often wondered about the unusual level of artistic ability with the Jewish community; perhaps it's a part of being the so-called chosen people or, more prosaically, the result of hard work and hangin' in together, much as the Italians were once wont to do. Either way, it works well!
But regardless, unlike Arbus, Newton had an eye for beauty and
sophistication (not something that I think anyone would accuse Arbus of harbouring!) even - or especially - in strange circumstances. I enjoy his work too, but never bought a monograph of his until Sumo. I would never buy Arbus.
Rob