January 5 2021: Interview with Accutron

Thanks to the Accutron Show and hosts Bill McCuddy and David Graver for interviewing me in December. We spoke about work from Scene and My Mother's Clothes, along with the role of Instagram. Listen to the full podcast here.

November 14 2020: Behind the Book: Roman Hours

Ivorypress explores the design process behind Roman Hours with their in-house graphic designer Joana Bravo. Jeannette Montgomery Barron and André Aciman's collaborative book Roman Hours was published by Ivorypress in October. 

More information about Roman Hours

October 22 2020: Roman Hours

'Roman Hours' is the first publication in collaboration between writer André Aciman and photographer Jeannette Montgomery Barron. The idea for this project grew out of a series of conversations between the two authors and their shared desire to capture Rome. The book brings together a selection of images that, put together, offer a reflection on the contradictions, colours, and sounds of Rome, where the ancient is glimpsed through the modern and the bright colours fade into the characteristic ocher tones of the Eternal City.

Published by Ivorypress, October 2020.

Listen to Jeannette Montgomery Barron and André Aciman in conversation, moderated by James Barron:


October 20 2020: Studio visit with Renée Riccardo

Many thanks to curator and art advisor Renée Riccardo (@reneericcardo on Instagram) for visiting my studio last week.

July 22 2020: Table Tops at James Barron Art

Jeannette Montgomery Barron: Table Tops
Opens July 22, 2020
The Cabin at James Barron Art

James Barron Art is proud to present a selection of photographs from Jeannette Montgomery Barron's Tabletops series. This is the first time works from this series have been exhibited, and it is our inaugural show at the Cabin, a newly restored structure built thirty years ago.

These photographs invoke our collective memories of lively meals shared with friends, as well as the unique Italian sentiment that a meal does not need to be fancy or expensive to be a celebration. Viewed through the lens of our current pandemic, these works feel especially nostalgic and comforting.

Please contact info@jamesbarronart.com for more information.

View exhibition details here.

February 18 2020: Artist Portraits from the 80's at Patrick Parrish

Jeannette Montgomery Barron : Artist Portraits from the 80’s
March 5 – April 18, 2020
Opening Reception Thursday, March 5, 2020 from 6 – 8pm

Patrick Parrish Gallery is pleased to present the photographs of Jeannette Montgomery Barron. Jeannette’s decisive and intimate portraits of artists, actors and the denizens of Downtown New York in the 1980's define the era. Now, with so many younger artists in their 20s and early 30s referring back to this lush and fertile time, the gallery felt it was time to revisit these iconic images.

In honor of younger and hopefully new collectors, Jeannette is publishing a new edition of one of her iconic images that will be affordable to those just starting out building a collection. The exhibition will also be accompanied by a limited edition catalog "object” designed by Brian Janusiak of Various Projects, Inc. consisting of unseen reprints of Jeannette’s contact sheets, printing notes, as well as facsimiles of her negatives.

Jeannette Montgomery Barron was born in Atlanta, Georgia and studied at the International Center of Photography. She first became well known for her portraits of the New York art world in the 1980s, and later went on to create a collection of books each based on different aspects of her work: Jeannette Montgomery Barron, Photographs, Edition Galerie Bruno Bischofberger (1990), Photographs and Poems (1998), Mirrors (2004), Session with Keith Haring (2006), My Mother’s Clothes (2010), Scene (2013), and My Life in the 1980’s New York Art Scene (2014). Most recently in 2016, The American Academy in Rome opened the exhibition, A View of One’s Own: Three Women Photographers in Rome, which featured Jeannette’s work along with Esther Boise Van Deman and Georgina Masson.

Jeannette’s work can be found in numerous public and corporate collections, including The Museum of Modern Art, New York, The Whitney Museum of American Art, New York, The Museum of Fine Arts, Houston, The Menil Collection, Houston, Texas, The High Museum of Art, Atlanta, Kunsthaus, Zurich, Collezione Maramotti, Reggio Emilia, Italy, The Archivio Fotografico, American Academy in Rome and The Andy Warhol Museum, Pittsburgh, among others. She has shown internationally at Galerie Bruno Bischofberger, Zurich, Scalo, New York and Zurich, Jackson Fine Art, Atlanta and Magazzino D'Arte Moderna, Rome.

Please contact info@patrickparrish.com for more information.

Patrick Parrish Gallery
50 Lispenard Street
NY, NY 10013


Creative Boom
Cool Hunting
Document Journal
The Guardian
Interview Magazine


November 21 2019: ALL-IN ITALIA

Viaggio Miraggio nel Villaggio Globale, “mirage journey in the global village,” is the title of Luigi Ontani’s Murano glass chandelier from 1995. A universe is contained within the glass. It illuminates the surrounding world and fills it with fantasy.

Italy has often been associated with the past, with its antiquity and rinascimento. ALL–IN Nº4 reinterprets the idea of rebirth, viewing Italy’s rich landscape and history as an empty disco, a site for experimentation and renewal. This void with endless potential carries us into an unchained future.

Gruppo 9999
Mathilde Agius
Bror August
Jeannette Montgomery Barron
Alessandro Bava
Makram Bitar
Joanne Burke
Katie Burnett
Sabrina de Sousa
Martino Gamper
Romeo Gigli
François Gravel
Julie Greve
Image Group
Joyce Ng
Luigi Ontani
Antje Peters
Bianca Raggi
Oliviero Toscani
Tina Tyrell
Massimo Vitali
Harumi Yamaguchi
and many more.

304 pages
1 kg
18 x 25 cm / 7 x 10 in
245 color / 54 B/W images

Read more and purchase here.

February 17 2019: Hudson Review reviews Mirrors and Glass

At the Galleries

by Karen Wilkin

At James Barron Art, in Kent, Connecticut, the beautifully installed “Jeannette Montgomery Barron/Laura de Santillana: Mirrors and Glass” paired works by an American photographer and an Italian sculptor. Montgomery Barron’s minimalist images of smallish round or oval mirrors, poised on slender bases, ranged from soft silver gelatin prints to crisp, lushly-hued pigment prints. Rather than reading as austere still lifes, the photographs of these anonymous, everyday objects become “portraits,” heads on slim necks, sometimes confronting us, sometimes turning away. They seem introspective, self-contained, as if Montgomery Barron had captured her sitters unawares. That mood was intensified by the proximity of de Santillana’s subtle, reticent sculptures: blunt, compressed rectangles of hand-blown glass enclosing stacked blocks of color. The vaguely head-like proportions of these elegant objects reverberated with Montgomery Barron’s “mirror portraits,” but the trapped, translucent hues within the rectangles also had associations with the larger world—with the sky, water, and light of Venice, where de Santillana lives and works, for example. Seen frontally, her glass pieces seemed connected to abstract painting—perhaps Rothko, scaled down and luminous—but from an oblique view, where the thickness of the enveloping clear glass became visible, these seductive objects were at once declaratively about their material presence and evanescent.

The two very different bodies of work entered into a fascinating conversation. De Santillana’s pieces underscored the physical properties of Montgomery Barron’s subjects in new ways, reminding us of the “glassiness” of mirrors, while the understated geometry of the photographs—the nuanced relationship of ovals and circles to the rectangles or squares of the field—made us consider freshly the shape and proportions of the sculptures’ color blocks. That color was ravishing, but among the most memorable pairings in the show was a group of de Santillana’s sculptures celebrating the power of transparency and silvery greys, with a selection of Montgomery Barron’s ephemeral silver gelatin prints. Who ever thought that color had to be chromatic to be expressive?

« hudson-review_mirrors-and-glass.pdf »

November 1 2018: La Mia Stanza

\*Questo mese in una galleria a Kent, piccolo paesino del Connecticut immerso in un paesaggio rurale di stampo ottocentesco e frequentato da artisti, scrittori e tycoons, c’è una mostra intitolata ‘Mirrors and Glass’ che espone i lavori di due artiste di talento: Jeannette Montgomery Barron, nota fotografa i cui lavori sono presenti in molte collezioni pubbliche e private, tra cui The Museum of Modern Art e il Whitney di New York, e Laura de Santillana, artista veneziana le cui sculture in vetro sono presenti anche nelle collezioni del Metropolitan Museum a New York e del Victoria and Albert di Londra. La galleria che ha ideato la mostra appartiene a James Barron, marito di Jeannette. La scelta di fare una mostra sui lavori di due artiste contemporanee, una americana e l’altra italiana, non è casuale ma parte dal desiderio, da parte del gallerista e della fotografa, di fare da ‘ponte’ tra i due paesi cui sono più legati. L’amore per l’Italia si è consolidato quando la coppia, assieme al figlio allora bambino, si trasferì a Roma nel 2003 dove entrò a far parte della comunità di artisti italiani e internazionali. Doveva essere un anno sabbatico, invece restarono ben undici anni prima di rientrare negli USA nel 2014. Dopo questa premessa, veniamo alla stanza di questo mese. Si tratta dello studio fotografico di Jeannette Montgomery Barron. Una struttura minimale e a sé stante che si trova su una proprietà immersa nei boschi, non lontano da Kent, che condivide con il marito e il figlio. La casa, a pochi passi dallo studio, è arredata con molti oggetti di design ‘Made in Italy’ e opere d’arte di artisti contemporanei conosciuti dalla coppia durante il lungo soggiorno romano. Tra questi segnaliamo alcune opere di Enrico Castellani e di Jannis Kounellis, sculture in vetro di Tristano di Robilant e arazzi di Georgia Bettoja. Anche gli interni dello studio di Jeannette, un ampio stanzone con pavimenti in legno e vetrate che si aprono sul verde, sono intrisi di italianità. A cominciare dalle sedie ‘a farfalla’ di Ilaria Miani e dal divano posto di fronte a una delle vetrate e formato da un materasso di lana fatto a mano in una vecchia bottega nei pressi di Campo dei Fiori a Roma e tappezzato con una stoffa color amaranto. “Nelle pause di lavoro mi sdraio qui a osservare il bosco e i suoi animali. In quest’ultimo anno ho visto tre grossi orsi gironzolare a pochi metri dal mio studio. Uno è addirittura caduto dall’albero di pero in fondo al giardino!” Informazioni: jeannettemontgomerybarron.com e jamesbarronart.com\*
\* \*
This month in a gallery in Kent, a small village in Connecticut immersed in a nineteenth-century rural landscape frequented by artists, writers and tycoons, there is an exhibition called 'Mirrors and Glass' which exposes the works of two talented artists: Jeannette Montgomery Barron, well-known photographer whose works are present in many public and private collections, including The Museum of Modern Art and Whitney in New York, and Laura de Santillana, a Venetian artist whose glass sculptures are also present in the collections of Metropolitan Museum in New York and Victoria and Albert in London. The gallery that created the exhibition belongs to James Barron, Jeannette's husband. The choice to make an exhibition on the works of two contemporary artists, one American and one Italian, is not casual but starts from the gallery owner's desire to act as a 'bridge' between the two countries related. The love for Italy was consolidated when the couple, together with their children, moved to Rome in 2003 where they joined the community of Italian and international artists. It was supposed to be a sabbatical year, but it remained eleven years before returning to the US in 2014. After this premise, we come to this month's room. This is the photographic studio of Jeannette Montgomery Barron. A minimal and stand-alone structure located on a property nestled in the woods, not far from Kent, which shares with her husband. The house, a few steps from the studio, is furnished with many 'Made in Italy' design objects and works of art by contemporary artists known by the couple during their long stay in Rome. Among these we point out some works by Enrico Castellani and Jannis Kounellis, glass sculptures by Tristano di Robilant and tapestries by Georgia Bettoja. Even the interiors of Jeannette's studio, a large room with wooden floors and windows that open onto the green, are imbued with Italian style. Beginning with Ilaria Miani's 'butterfly' chairs and the sofa in front of one of the windows and made of a handmade wool mattress in an old shop near Campo dei Fiori in Rome and covered with an amaranth colored fabric . "During work breaks I lie here watching the forest and its animals. In the last year I saw three big bears strolling a few meters from my studio. One has even fallen from the pear tree at the bottom of the garden! " Information: jeannettemontgomerybarron.com and jamesbarronart.com



I try to apply colors like words that shape poems, like notes that shape music. – Joan Miró

Color—or the lack of it—is a central feature of the art of Jeannette Montgomery Barron and Laura de Santillana, the two artists currently paired together in the engaging exhibition “Mirrors and Glass” at James Barron Art in Kent, Connecticut. Comingled by color and form, their juxtaposed photo and glass works create a conceptual pas de deux for the gallery’s modernist style space. 

View here https://whitehotmagazine.com/articles/glass-comes-together-in-kent/4081

September 8 2018: Mirrors and Glass at James Barron Art

Opening Saturday, September 8, 2018: Mirrors and Glass at James Barron Art

Jeannette Montgomery Barron and Laura de Santillana

Opening Reception: Saturday, September 8, 2018 from 4 - 6 pm

Our exhibition examines the remarkable visual parallels between Jeannette Montgomery Barron's photographs of mirrors and Laura de Santillana's glass sculptures. These two artists were born one year apart - Laura de Santillana in Venice, Italy, and Jeannette Montgomery Barron in Atlanta, Georgia - and both have worked continually between the U.S. and Italy. Without knowing one another's work until very recently, the two artists have steadily developed a minimalist aesthetic and an exploration of color through repetition of form. This is the first time their work has been exhibited together.

Jeannette Montgomery Barron's works are in numerous public and corporate collections, including The Museum of Modern Art, New York; The Whitney Museum of American Art, New York; The Museum of Fine Arts, Houston; The High Museum of Art, Atlanta; Kunsthaus, Zurich; Collezione Maramotti, Reggio Emilia, Italy; The Archivio Fotografico, American Academy in Rome and The Andy Warhol Museum, Pittsburgh.

Laura de Santillana's works are in numerous public collections, including The Metropolitan Museum of Art, New York; Los Angeles County Museum of Art, Los Angeles; The Museum of Fine Arts, Boston; The Museum of Fine Arts, Houston; the Murano Glass Museum, Venice; The Corning Museum of Glass, New York; Cooper-Hewitt Museum, New York; Seattle Art Museum, Seattle; Carnegie Museum of Art, Pittsburgh and Museum of Art and Design, New York.

May 21 2018: LADY TV feature

For the past few years we have been joining photographer Jeannette Montgomery Barron regularly, for dinners and lunches, in her adopted home of Italy, via a beautiful series of images she has slowly compiled and posted teasingly on Instagram. That we are thousands of miles away and have not so much as shared a bite makes no difference. These are not foodie pics. While these are meals attended by Barron, we do not see any food and are not given any clues to the whereabouts of these establishments. Yet we can hear everything in these photographs. The almost inconsequential “Let's eat out”, quickly followed by reaching for the house keys, no changing—maybe just wrapping a scarf around your throat—then walking around the corner and in to the familiarity of the place where you are known and simply, deliciously fed.

These photos capture a range of restaurants, mostly Roman. From plastic plaid tablecloths to smooth, reassuring white linens, we wonder what that meal was like and with whom did she dine. Tables are laid with clues, from perfect pre-meal symmetry, to the sensual mess of tables loitered at; others, neatly ravaged with emptied espresso cups, stubbed cigarette butts, and what we can only imagine are the dredges of a great conversation left behind.

These images have been nagging us. They deceptively simple, but they provoke and attract us. What is it? Have we missed something?

We finally realize, yes, we have missed something. In the hyperbolic explosion of food culture, absurdist real estate dramas, and the ubiquitous tonnage of "branding", we have in America mislaid the ultimate comfort of the neighborhood spot. With her elemental, reserved images, Barron has broken our hearts as we long for all the iterations of these we lost in the US. These are the places you and your team eat at several times a week. Usually the same meal, or a variation on one, or one requested and prepared by the chef for a regular. The place you have a few preferred tables, you know the waitstaff by name. Where the proprietor is a friend by virtue of having had so many small pleasant conversations in passing, where the details of one another's lives slowly are revealed after so many visits. You know their kids, grandparents, and vacation schedules. The food is lovely, but one initially is going for convienence, which gives way to dependablity and reassurance. This meal out is the solution to a busy day that does not represent a luxury. It is rather a community and a comfort.

In these images we are also reminded of the value of the ritual of the shared meal. At these tables, our lives are shaped, with conversations supported by bowls of steaming pasta, a particularly tasty salad, a glass of house red. No prep, no dishes to distract us. Perhaps we also feel nostalgia for a time when the end of the day meant reuniting with one’s people, to recap the day, a system quite obsolete now that we text, DM and WhatsApp our way from waking to sleeping. Maybe it is also a mirage, of urban middle class life that Italy has managed to preserve, mostly expunged from our Americans cities. It seems exotic now, doesn’t it? At Jeannette's brilliant suggestion, we have asked her friend, the writer Chiara Barzini to populate the photos of her choosing with small scraps of fictional lives, as if overheard at a neighboring table.  http://ladyworld.tv

October 1 2017: JMB featured in UPSTATE DIARY Issue 5

Upstate Diary is interested in the lifestyles of people creating in close proximity to nature, and the places they have found in their search for richer, less distracted lives. The future, like our cover and the meaning of “upstate,” feels wide open indeed…

Twelve page spread featuring photographs taken by Jeannette Montgomery Barron of Nancy Olnick and Giorgio Spanu with writing by Stephen Greco.

View more here.

September 12 2017: Cindy Sherman by JMB on cover of Purple Magazine

25 covers for the 25 anniversary of Purple Magazine. Cindy Sherman photographed by Jeannette Montgomery Barron.

"For our 25th anniversary issue, Purple celebrates the artists and models who incarnated the spirit of the magazine through their style, attitude, and personality: Cindy Sherman, Richard Prince, Paul McCarthy, Michèle Lamy, Susan Cianciolo… Stella and Eva… Amanda Wall, Maurizio Cattelan, Paul Hameline… and more."

View more details here.

September 6 2017: A View of One's Own: Three Women Photographers in Rome: Esther Boise Van Deman, Georgina Masson and Jeannette Montgomery Barron

A View of One's Own: Three Women Photographers in Rome: Esther Boise Van Deman, Georgina Masson and Jeannette Montgomery Barron.

This selection of photographs of Rome and its environs by three women, drawn in part from the Photographic Archive of the American Academy in Rome, confronts the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day. The exhibition traces the emergence of photography as an independent medium wielded by women with distinctive viewpoints, as it evolved from a documentary aid to a vehicle for subjective expression. Seen in succession against a photographic landscape defined for the most part by men, the images posit another way of seeing the city's history. In these photographs, taken by female flâneurs, empirical observations of bricks and mortar progressively dissolve into pure, evanescent experience.

View more exhibition details here.

March 22 2017: A View of One's Own

Catalog for exhibition A View of One's Own - Three Women Photographers in Rome: Esther Van Deman, Georgina Masson, Jeannette Montgomery Barron.

This exhibition, drawn in part from the holdings of the Photographic Archive of the American Academy in Rome, features a selection of photographs by foreign women in Rome from three successive generations. Their work confronts aspects of the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day.

This exhibition was curated by Lindsay Harris, Peter Benson Miller, and Angela Piga.

December 6 2016: EXIBART review of Mirrors, Magazzino Rome


November 9 2016: Magazzino, Rome, Italy

MIRRORS. Montgomery Barron's first exhibition of black and white MIRRORS opened at Magazzino in May 2004.  She has continued photographing mirrors since then, in color. The exhibition opens on November 9, 2016. 

November 2 2016: JMB participates in SURFACE MAGAZINE collaboration with Jenny Holzer


October 13 2016: American Academy in Rome


This event is part of the series New Work in the Arts & Humanities: American Classics. This exhibition features a selection of photographs by foreign women in Rome from three successive generations, all of them connected to the American Academy. Their work confronts aspects of the Eternal City and its urban transformation over more than a century, from the Belle Époque to the present day. At the same time, it tracks the emergence of photography as an independent medium wielded by women with distinctive viewpoints, as it evolved from a documentary aid to a vehicle for subjective, even gendered expression. The protagonists are American archaeologist Esther Van Deman, who photographed Rome and its surroundings in the 1910s; Georgina Masson, author of the classic guidebook,The Companion Guide to Rome, that has shaped foreigners’ experiences of Rome since the 1950s; and contemporary photographer Jeannette Montgomery Barron, whose images capture glimpses of Rome as seen by an American living abroad in the Eternal City, folding them into a wandering, meditative reverie. Seen in succession against a photographic landscape of Rome defined for the most part by men, these photographs posit another way of seeing the city’s history. Taken by female flâneurs, empirical observations of bricks and mortar progressively dissolve into pure, evanescent experience. A View of One’s Own is curated by Lindsay Harris, Peter Benson Miller, and Angela Maria Piga.

Inaugural Lecture Zoe Strauss 13 October 2016 6pm, AAR Lecture Room
Lecture Letizia Battaglia 3 November 2016 6:30pm, AAR Lecture Room

Fridays, Saturdays, Sundays, 4pm-7pm until 27 November 2016

July 22 2016: Musée Magazine

Musée Magazine issue 15 features JMB photos with André Aciman essay, "ROME IS." 

Read more at museemagazine.com

« musee-magazine.pdf »

May 1 2016: JMB featured in UPSTATE DIARY

Upstate Diary is about the creative possibilities that thrive in communities outside of city limits. The ways that natural beauty and the challenges of rural life inform and influence the creative process form common themes among most of the artists we feature. Upstate in this context is truly about a state of mind.

We hope that you will learn something new, become inspired by these stories and be inspired to explore.

Upstate Diary is the brainchild of Swedish Photographer and Director Kate Orne, formally an editor at Interview Magazine.


June 23 2015: My Years in the 1980s New York Art Scene

More than a book, a personal diary where the photographer has jotted down notes, collected photographs shot in studios, homes and clubs, letters, and mementos of events linked to her life in New York in the Eighties, further enriched by artists' recollections of that period.

A journey that certainly does not want to be philological but intimate and minimalistic, in its attempt to convey the sense of a special moment in time to those who had not experienced it.

Contributions by: John Ahearn, James Barron, Mike Bidlo, Ross Bleckner, James Brown, Sandro Chia, Enzo Cucchi, Peter Halley, Annette Lemieux, Peter McGough, Jeannette Montgomery Barron, Luigi Ontani

May 3 2014: Collezione Maramotti

April 12 2013: Jeannette Montgomery Barron: Portraits in Vogue

From Keith Haring and Jean-Michel Basquiat, to Andy Warhol and Bianca Jagger, she has shot them all. Known for the black and white portraits of key figures on the New York underground scene in the 1980s that appeared in Interview, Vanity Fair and Vogue, Jeannette Montgomery Barron has brought some of her best together in Scene, an intimate selection of work. Some of the most powerful and poetic shots will be on show at concept store colette in Paris until May 4. We spoke to Jeanette for the inside story behind some iconic images.


April 4 2013: Colette

: Artist Portraits from the 80s

Artist Portraits from the 80s, 2020
Catalog from exhibition at Patrick Parrish Gallery, New York

Silver Foil-Stamped, Museum Board Box w/ Binder mechanism
108 Pages (Single + Multi-fold)
Limited edition of 50
1 ½ × 10 ½ × 12 inches (3.81 × 26.67 × 30.48 cm)
Edition of 50 plus II AP


: Mirrors

More information upon request.