{"id":410093,"date":"2023-10-06T14:00:00","date_gmt":"2023-10-06T18:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=410093"},"modified":"2023-10-13T11:14:53","modified_gmt":"2023-10-13T15:14:53","slug":"jeannette-montgomery-barron","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/jeannette-montgomery-barron\/","title":{"rendered":"Photographer to Know: Jeannette Montgomery Barron"},"content":{"rendered":"
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\"Photographer<\/a>
Photographer Jeannette Montgomery Barron<\/a> captured the denizens of New York City’s art scene in the 1980s. Photo by James D. Barron <\/figcaption><\/figure><\/div>\n\n\n

In 1978, Jeannette Montgomery Barron<\/a> moved, with camera in tow, from Atlanta to New York and immersed herself in the city\u2019s thriving, gritty downtown art<\/a> scene. Drawn to the avant-garde disrupters of the time, she turned her lens on those around her.<\/p>\n\n\n\n

By the early 1980s, she was well on her way to producing an indispensable chronicle of the era’s artists, art dealers, writers, performers, intellectuals and scenesters, shot up close and personal in what would become her trademark minimalist black-and-white style.<\/p>\n\n\n

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\"A<\/a>
Andy Warhol<\/em>, 1985<\/a><\/figcaption><\/figure><\/div>\n\n\n

Preferring pared-down backdrops and limited props, Barron became known for manipulating light and shadow to create sculptural nuances and spaces suffused with the energy of her now-legendary subjects, including Jean-Michel Basquiat<\/a>, Leo Castelli<\/a>, Keith Haring<\/a>, Jenny Holzer<\/a>, Alex Katz<\/a>, Barbara Kruger<\/a>, David Salle<\/a>, Julian Schnabel<\/a>, Cindy Sherman<\/a> and Andy Warhol<\/a>.<\/p>\n\n\n\n

Revealing their vulnerability while also conveying their knowingness and authority, Barron brings a vivid realness to her subjects. Often, they stare directly into the camera<\/a>, unintimidated by its watchful eye, relaxing in armchairs<\/a> and on sofas<\/a> rather than posed with their artwork<\/a>.<\/p>\n\n\n

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\"A<\/a>
Robert Mapplethorpe<\/em>, 1987<\/a><\/figcaption><\/figure><\/div>\n\n\n

In her 1987 portrait of Robert Mapplethorpe<\/a>, we see the artist standing between his shadow and a fiendish looking bronze sculpture<\/a>. His shadow appears to be carrying a cross, echoing the sword carried by the bronze figure, whose profile is also mirrored in shade.<\/p>\n\n\n\n

It\u2019s an extraordinary play of light, in a composition that leaves the viewer wanting to find out more about the artist who once claimed he wanted to see \u201cthe devil in all of us.\u201d<\/p>\n\n\n\n

Barron’s quietly intense 1985 portrait<\/a> of Brice Marden<\/a> also uses light and shadow to dramatic effect. Illuminated from behind, Marden seems to glow. With the image’s simplicity, the photographer draws attention to the painter\u2019s body language and facial expression, and our eyes inevitably go right to his eyes and hands.<\/p>\n\n\n

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\"A<\/a>
Jenny Holzer<\/em>, 1984<\/a><\/figcaption><\/figure><\/div>\n\n\n

\u201cIntimate<\/em> is the word that comes immediately to mind when describing the work of JMB,\u201d says Patrick Parrish<\/a>, whose eponymous Tribeca gallery represents the artist in New York. \u201cShe has a knack for capturing intimacy, even when meeting and photographing someone for the first time.\u201d<\/p>\n\n\n\n

Barron\u2019s evocation of intimacy is especially compelling in an extensive series of portraits she made in the mid-1980s of Basquiat and Warhol. The photographs, taken over two shoots, were recently compiled in the limited-edition book JMB<\/em><\/a>, from London publisher NJG.<\/p>\n\n\n\n

Barron first photographed Basquiat in December 1984, at the invitation of Swiss dealer Bruno Bischofberger<\/a>. \u201cI remember Jean-Michel opening the door to his studio on Great Jones Street and seeing a sweet, shy smile on his face,” Barron recalls. “He had beautiful eyes and great eye contact. I felt very welcome.\u201d She shot three rolls of film \u2014 36 images in total.<\/p>\n\n\n

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\"A<\/a>
Jean-Michel Basquiat and Andy Warhol<\/em>, 1985<\/a><\/figcaption><\/figure><\/div>\n\n\n

The following spring, she photographed Basquiat together with Warhol<\/a>. Taken in low light, the double portraits are steeped in moody suspense, offering a window into the personalities of two icons who, despite their different ages and backgrounds, formed a tight friendship<\/a> and enhanced each other\u2019s cultural currency. <\/p>\n\n\n\n

Warhol\u2019s only request for the joint shoot at his studio, the Factory<\/a>, was to be photographed in the office of Fred Hughes<\/a>, his famously dapper business manager. \u201cI guess it was a more neutral space for him,\u201d Barron says. \u201cThe energy between Jean-Michel and Andy was great that day. It was clear they were having a lot of fun together making this collaborative work. I felt very comfortable with them, and they both seemed very much at ease.\u201d<\/p>\n\n\n\n

Barron\u2019s solo portraits of Basquiat, on the other hand, convey introspection and quietude, drawing out the young artist\u2019s more vulnerable side and presenting a persona different from his public image as a fearless art prodigy<\/a>. <\/p>\n\n\n

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\"A<\/a>
Jean-Michel Basquiat<\/em>, 1984<\/a><\/figcaption><\/figure><\/div>\n\n\n

A particularly striking shot<\/a> shows Basquiat leaning forward in an armchair and directly confronting the viewer, a shard of light illuminating his face in an otherwise shadowy composition. It’s Barron’s favorite image from the session.<\/p>\n\n\n\n

“This was the image I first selected to print back in 1984,\u201d says Barron. \u201cIt was also the first of my photographs to be sold to a museum \u2014 the Museum of Fine Arts, Houston<\/a> \u2014 by my gallery at the time, Staley-Wise<\/a>. I remember the day they called to tell me that the museum had bought the piece for their permanent collection. It was a huge thrill and a game changer for me. Gave me a lot of wind in my sails, so to speak.\u201d <\/p>\n\n\n\n

Her biggest regret, she says, was not bringing more rolls of film with her. She also laments not buying a painting from Basquiat on the spot. \u201cI was only thinking about getting a good portrait!\u201d she explains.<\/p>\n\n\n

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\"A<\/a>
Jean-Michel Basquiat, Cyan #2<\/em>, 1984<\/a><\/figcaption><\/figure><\/div>\n\n\n

The Basquiat portraits “are very special \u2014 they certainly got to me,\u201d says Peter Fetterman, the collector behind Santa Monica\u2013based Peter Fetterman Gallery<\/a>, which showcases important 20th-century photography<\/a>. \u201cJMB really captured the essence of Basquiat in these sittings. We see a tenderness and timidness, and this at the height of his acclaim.\u201d<\/p>\n\n\n\n

Fetterman was especially drawn to the cover of the new book, which casts Basquiat in a hazy blue light. Through the publisher, he connected with Barron and suggested that she apply this evocative patina to three shots of the artist. Each large, blue-tinged portrait is part of a special limited series, marking a rare aesthetic conversion from monochromatic to coloration for the photographer. <\/p>\n\n\n\n

\u201cShe consulted her master printer and came back with these magical, magical pieces,\u201d enthuses Fetterman. \u201cThe detail is extraordinary. Seeing the physical prints adds another dimension to what the viewer feels and experiences. Plus, blue is a great suggester of melancholy or mood. Picasso<\/a> had his Blue Period<\/a>, so I see this trio as Basquiat\u2019s blue moment.\u201d<\/p>\n\n\n

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\"A<\/a>
Jean-Michel Basquiat, Cyan #3<\/em>, 1984<\/a><\/figcaption><\/figure><\/div>\n\n\n

Barron credits her father, a camera enthusiast, with her passion for photography<\/a>. \u201cHe gave me a Kodak<\/a> Brownie, which I loved, then a Polaroid<\/a> Swinger. Then, I bought my first 35mm camera when I was 15 years old,\u201d she recalls. \u201cI was hooked.\u201d<\/p>\n\n\n\n

In her teens, she practiced her craft on her younger brother, Monty Montgomery, who also went on to find his calling behind the camera, as a filmmaker. \u201cHe was my muse,\u201d she says.<\/p>\n\n\n\n

Their creative partnership continued into adulthood when Monty invited her to be the on-set photographer on the 1984 cult biker movie The Loveless<\/em>, which he made with Kathryn Bigelow. It starred a young Willem Dafoe in his first leading role and was also Barron\u2019s first big gig. <\/p>\n\n\n

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\"A<\/a>
Cindy Sherman<\/em>, 1984<\/a><\/figcaption><\/figure><\/div>\n\n\n

\u201cI learned so much sitting around on that set and shooting every day,\u201d says Barron. After that experience, she forced herself to approach strangers in the street to photograph them. \u201cThis was so hard for me. I\u2019m basically a shy person,\u201d she says. \u201cBut when I get behind the camera, I become much more comfortable in my skin.\u201d<\/p>\n\n\n\n

In 1981, Monty suggested that she take portraits of artists. She turned her lens on New York City\u2019s creative underground and quickly hit her stride. Among her first subjects was painter Francesco Clemente<\/a>, in 1981.<\/p>\n\n\n\n

In the introduction to Barron\u2019s book of Basquiat and Warhol portraits, Clemente gets right to the heart of her talent, writing, \u201cShe conveys the widest range of expressivity with the minimum amount of means.\u201d<\/p>\n\n\n

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\"A<\/a>
Francesco Clemente<\/em>, 1981<\/a><\/figcaption><\/figure><\/div>\n\n\n

Nearly 40 years later, Barron is still experimenting with the camera and photographing movers and shakers in art, music, film and literature. And despite having trained her lens on some of the most important figures in American art<\/a>, Barron admits she still gets nervous ahead of a shoot. <\/p>\n\n\n\n

\u201cI’m forever worried I won’t get the shot,\u201d she says. \u201cIt’s rare when I don’t. But somehow I have to put myself through this every time. I think it must keep me on my toes.\u201d<\/p>\n\n\n\t

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\n\t\t\t\t\t\tDiscover More Jeannette Montgomery Barron Photography\t\t\t\t\t<\/div>\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/a>\n\t\t\t\t\n\t\t\t\t\tShop All<\/span>\n\t\t\t\t<\/a>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n","protected":false},"excerpt":{"rendered":"

In 1978, Jeannette Montgomery Barron moved, with camera in tow, from Atlanta to New York and immersed herself in the city\u2019s thriving, gritty downtown art scene. Drawn to the avant-garde disrupters of the time, she turned her lens on those around her. By the early 1980s, she was well on her way to producing an […]<\/p>\n","protected":false},"author":394,"featured_media":410452,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"2023-10-06T18:04:34Z","apple_news_api_id":"5e2e0e14-5fad-41d1-81be-ca6a279c3774","apple_news_api_modified_at":"2023-10-13T15:15:00Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAACw==","apple_news_api_share_url":"https:\/\/apple.news\/AXi4OFF-tQdGBvspqJ5w3dA","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[1],"tags":[15570633,15570631,15567312,5643,10353223,10469443,15570630,692,15570632,15534133,104],"dibs-categories":[15565858,15565868],"dibs-designs":[],"dibs-styles":[],"dibs-creators":[],"dibs-sellers":[15570634,15570179],"class_list":["post-410093","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-1980s-art","tag-20th-century-photography-2","tag-alexandra-zagalsky","tag-andy-warhol","tag-black-and-white-photography","tag-jean-michel-basquiat","tag-jeannette-montgomery-barron","tag-new-york","tag-patrick-parrish","tag-peter-fetterman-gallery","tag-photography","dibs-categories-dibs-a","dibs-categories-dibs-a_pho","dibs-sellers-dibs-patrick-parrish","dibs-sellers-dibs-peter-fetterman-gallery"],"acf":{"post_format":"article","subtitle":"Her stunning portraits of Jean-Michel Basquiat, Andy Warhol and other artists chronicle a crucial chapter of New York\u2019s cultural history.","contributors":{"hide_byline":false,"columnist":[{"ID":361856,"post_author":"456","post_date":"2021-12-14 22:36:15","post_date_gmt":"2021-12-15 03:36:15","post_content":"\n

Alexandra Zagalsky is a London-based journalist specializing in luxury topics, art and travel content. She began her journalistic career in Paris, where she worked on a cultural guide for English-speaking expats. Her first big break was an interview with Lionel Poil\u00e2ne, the late, venerable baker from Paris\u2019s Saint-Germain-des-Pr\u00e9s district who popularized the two-kilogram sourdough loaf and once made a bread chandelier for Salvador Dal\u00ed<\/a>.

Zagalsky moved back to London in her early 20s and has since worked with a number of august publications, including the Week<\/em>, the Telegraph<\/em>, the Times<\/em> and a variety of art and design outlets, such as Introspective<\/em><\/a> and V&A<\/em>, Sotheby\u2019s<\/em> and Christie\u2019s<\/em> magazines. She studied fine art and the history of art at Goldsmiths, University of London, and continues to explore the contemporary art scene, including the world of NFTs.

She has written extensively on the subject of vintage watches<\/a> and describes the Cartier<\/a> Crash as her favorite timepiece. \u201cIt\u2019s a great emblem of the Swinging Sixties and an adaptation of the house\u2019s classic Baignoire<\/a> Allong\u00e9e wristwatch, its sinuous Daliesque style apparently inspired by a model brought into the London Cartier workshop that had been distorted in a car crash,\u201d she says. \u201cI love it for all sorts of reasons, not least because it\u2019s so unconventional and daring, as all great design objects often are.\u201d

Find out more about Zagalsky\u2019s work on Linkedin<\/a>.<\/p>\n","post_title":"Alexandra Zagalsky","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-zagalsky","to_ping":"","pinged":"","post_modified":"2025-11-27 03:14:00","post_modified_gmt":"2025-11-27 08:14:00","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.1stdibs.com\/blogs\/the-study\/contributors\/alexandra-zagalsky\/","menu_order":0,"post_type":"contributors","post_mime_type":"","comment_count":"0","filter":"raw"}],"photographer":"","custom_byline":false},"show_date":true,"interstitial_banners":[{"acf_fc_layout":"collection","interstitial_banner_shortcode":"Jeannette-Montgomery-Barron","interstitial_banner_background_image":410842,"interstitial_banner_heading":"Discover More Jeannette Montgomery Barron Photography","interstitial_banner_subheading":"","interstitial_banner_button_text":"Shop All","interstitial_banner_button_url":"https:\/\/www.1stdibs.com\/creators\/jeannette-montgomery-barron-1956-american\/"}],"slideshows":false,"show_related_items_footer_popup":false},"dibs_designs_tags":null,"dibs_sellers_tags":["dibs-patrick-parrish","dibs-peter-fetterman-gallery"],"dibs_creators_tags":null,"dibs_styles_tags":null,"dibs_categories_tags":["dibs-a","dibs-a_pho"],"featured_image_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/JMB-Warhol_Basquiat-640x450.jpg","post_title":"Photographer to Know: Jeannette Montgomery Barron","fimg_url":{"thumbnail":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/JMB-Warhol_Basquiat-120x120.jpg","width":120,"height":120},"medium":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/JMB-Warhol_Basquiat-350x350.jpg","width":350,"height":350},"full":{"source_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/JMB-Warhol_Basquiat.jpg","width":1200,"height":1200}},"jetpack_featured_media_url":"https:\/\/www.1stdibs.com\/blogs\/the-study\/wp-content\/uploads\/JMB-Warhol_Basquiat.jpg","apple_news_notices":[],"yoast_head":"\nPhotographer to Know: Jeannette Montgomery Barron | The Study<\/title>\n<meta name=\"description\" content=\"Her stunning portraits of Jean-Michel Basquiat, Andy Warhol and other artists chronicle a crucial chapter of New York\u2019s cultural history.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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