Allen Jones

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Allen Jones (born 1 September 1937) is a British pop artist best known for his drawings, sculptures, and lithography.

At the 1963 Paris Biennale, he was awarded the Prix des Jeunes Artistes.

He is a Senior Academic at the Royal Academy of Arts. Jones has taught at the Hochschule für bildende Künste Hamburg, the University of South Florida, the University of California, the Banf Center School of Fine Arts, and the Berlin University of the Arts.

His works are on display in a number of collections, including the Tate, the Museum Ludwig, the Warwick Arts Centre, and the Hirshhorn Museum.

Hatstand, Table and Chair, his best-known piece, which involved fibreglass "fetish" mannequins, debuted in 1970 as a result of protests.

Early life and education

Jones was born in Southampton, England, on September 1st 1937. He was born in Ealing, west London, and attended Ealing County Grammar School for Boys. Jones was an early childhood pupil of Art. He began studying painting and lithography at Hornsey College of Art in London in 1955, where he would graduate in 1959. Hornsey's teaching method was based on Paul Klee's Pedagogical Sketchbook from the 1930s. Jones, a Hornsey undergraduate, was taken to Paris and the French region of Provence, and was particularly inspired by Robert Delaunay's artwork. In 1958, he attended a Jackson Pollock show at the Whitechapel Gallery, but Jones says, "for me, it was outside of any known frame of reference." The ambition, aspirations, and the freedom were all important. "I felt as though I was suing my teachers for not informing me what was going on in the world." He went back to see the Musie Fernand Léger in Biot, France, and in 1959, he left Hornsey to attend the Royal College of Art.

Jones, as one of the first British pop artists, made increasingly rare paintings and prints in the late 1950s and early 1960s, many of which were in particular revealing the historical architectures under siegement. "I wanted to kick over the traces of what was considered acceptable in art," Jones said of his early aspirations. I wanted to find a new language for representation, and to get away from the belief that figurative art was romantic that it wasn't difficult." He was part of a unique generation of students at the Royal College of Art, including R. B. Kitaj, Peter Phillips, David Hockney, and Derek Boshier, but he was expelled from the Royal College of Art in 1960 at the end of his first year. "Horrified at the latest developments brewing among their younger students," the college's academic old guard took an example of someone," Mark Hudson said in The Telegraph many years later. They selected Jones" over Jones. Jones enrolled in a teacher preparation course and returned to his Hornsey College of Art in 1960, graduating the following year.

Personal life

Jones lives and works in London, England.

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Art career

Despite his dismissal from the Royal College in January 1961, Jones' work was included in the Young contemporaries 1961 exhibition. In the press, the annual Royal Society of British Artists exhibition was described as "the exhibition that introduced British pop art." Young Contemporaries, David Hockney, R. B. Kitaj, Billy Apple, Derek Boshier, Patrick Caulfield, and Peter Blake, among Jones, David Hockney, Robert B. Kitaj, Robert Tilson, Robert Bacon, Robert Tilson, Patrick Caulfield, and Peter Blake, both of whom were all heavily influenced by British Artists Jones created several paintings of London buses on shaped canvases that were later on display at the London West End gallery Arthur Tooth & Sons. Jones was then introduced by one of the gallery's curators to the works of American pop artists, including Andy Warhol, Roy Lichtenstein, and Claes Oldenburg, which was inspired to Jones. He began teaching lithography at Croydon College of Art in London in 1961, where he would continue until 1963. Jones was influenced by writers such as Friedrich Nietzsche, Sigmund Freud, and Carl Jung around this period. Jones' 1963 painting Hermaphrodite depicts "used male/female couples as metaphors of the creative act." Freud and Nietzsche refer to him. Jones was named Prix des Jeunes Artistes at the Paris Biennale in 1963. In documentaries by Belgian director Jean Antoine, Evelyne Axell's husband, Jones and other Nouveau réalisme and pop artists like Peter Phillips and Pauline Boty were included.

Jones moved to Manhattan in 1964 and acquired a Chelsea Hotel studio, being inspired by American pop art's "toughness." Jones recollects trying to "present what you were saying as clearly as possible" in New York City, and he's keen on making his images tangible. "In a sexually inspired popular illustration of the 1940s and 1950s," Jones continued in the city. Jones wrote about his art of the time: It's been a long time, according to Jones.

Jones "worked on a three-dimensional illusionism with obvious erotic elements" during other projects at the time. When Jones' close friend Peter Phillips arrived in New York for two years as part of the Harkness Fellowship, they spent a lot of time traveling around the United States. Jones' style continued to evolve, and his 1966 painting Perfect Match "explained subpoena's subpoena, adopting a narrow linear style as a means of emphasizing tactility."

Jones' works, as well as the work of artists such as Piero Gilardi and David Hockney, were included in an exhibition dedicated to the wedding of Guglielmo Cavellini's daughter in 1967. The following year, when the xartcollection exhibition series was first produced in Zürich, Switzerland, Jones, Jones, Max Bill, Getulio Alviani, and Richard Hamilton were among the first to be included in the company's "multiples." The company's aim was to make modern art available to a large audience by industrially producing three-dimensional "multiples" with many artists' works included on each. Jones served as a visiting professor at the University of South Florida from 1968 to 1970, and in 1969 was also a guest lecturer at the Hochschule für bildende Künste Hamburg in Germany. Life Class, his 1968 collection of prints, was one of his first sculptures to incorporate elements of sculpture. Both prints are made of two-halves, the bottom being a realistic pair of women's legs in tights, while the upper halves are drawn in a 1940s fetishist graphic style resembling "the hidden face of British male desire in the bleak postwar period." Jones wrote about his sculpture work, saying, "I spent so much time giving my figures the grabbable look, why don't I make them in three dimensions?" explains Jones.

Jones began working in sculpture while living in Chelsea's late 1960s. His fibreglass sculpture Chair, which was completed in 1969, began a line of "life-size photos of women as furniture with fetishist and sadomasochist overtones." The first three sculptures were each sculpted from Jones' drawings, with Jones as the sole sculptor who created the figures in clay. The three female figures were then cast in plaster by a firm that specialized in the manufacture of shop mannequins. In a limited edition of six figures, each of the original three figures was made.

When displayed in 1970, Jones' first group of erotic fibreglass sculptures, of a Hatstand, Table, and Chair, gained international attention. The experiments were met with strong resistance for suspected misogyny, which culminated in Jones being branded a "cultural hot potato." The sculptures were prompted by latent castration apprehensions, according to Laura Mulvey of Spare Rib magazine. Almost a decade later, when they were on display at the Institute of Contemporary Arts in 1978, they were smuggish bombs. Chair was damaged by paint stripper while being on display at the Tate eight years ago on International Women's Day. "These works carry a strong emotive charge, ensnaring every viewer's mental and sexual outlook, regardless of age, gender, or location," Marco Livingstone, a art historian and curator, wrote in 2004.

Jones' exhibition career in England will be limited by the sculptures' first-hand reaction, feminists, and the mainstream media after their debut. Jones was quoted as a result of his work: "It's collateral damage," he said. I wanted to offend the canons of acknowledged value in art. I found the right image to do it, and it's an accident of history that these works coincided with the emergence of militant feminism. At one time, Roman Polanski, Elton John, and Gunter Sachs all owned a piece, with one of the sets selling for £2.6 million at auction in 2012. In Stanley Kubrick's 1971 film A Clockwork Orange, the sculptures were also referred to.

In 1973, Jones, photographer Brian Duffy, and airbrush specialist Philip Castle were invited to collaborate on the annual and often sarcastic Pirelli calendar, resulting in a special edition that Clive James would later refer to as "the only Pirelli Calendar that no one bothered to read twice." Jones spent time as a guest lecturer at the University of California, Los Angeles, in 1973, and the following year, he toured Canada. Jones produced Barbet Schroeder's 1975 film Maîtresse. Bulle Ogier, the professional dominance of Ariane and Gérard Depardieu, the film's obsessive lover, was refused a license in the United Kingdom due to its graphic depictions of sadnesso-masochism.

He was again focusing on canvas and painting by the mid 1970s, and Santa Monica Shores was one of his notable exhibits at this time. The work at the Tate began when he was a guest lecturer at the University of California, Los Angeles, in 1977, and later that summer he became a visiting professor of drawing and painting at the Banff Center School of Fine Arts in Alberta, Canada. Jones was hired to create a hoarding for Fogal, a hosiery manufacturer, at Basel station in 1978. He was known for only being on commissions. In 1979, the Walker Art Gallery in Liverpool held a major retrospective exhibition on his art, which later moved to the Serpentine Gallery in London. He was invited by the Berlin University of the Arts to be a visiting professor from 1982 to 1983. Continuing to travel. By this time, he had largely returned to "a playful stylization of figure sculptures," including The Tango in 1984, a life-size dancing pair made from steel plate. His work was included in the Venice Biennale's Art e Scienza exhibition in 1986, alongside artists such as Brian Eno and Tony Cragg, and the Royal Academy's Academician from 1986. Birch and Conran was the first art gallery in Soho in 1987, and their inaugural exhibition featured British Pop artists such as Jones, Sir Peter Blake, Richard Hamilton, and Clive Barker. He served as a trustee at the British Museum from 1990 to 1999, and in 2000, he became an Emeritus Trustee.

He has exhibited at the Cass Sculpture Foundation and has received honors. The outdoor sculpture Temple from 1998, one of which, was one of the many of which was named after a statue.

In addition, Jones' figure at the top of the picture introduces the notion of motion in the figure, with the alternate arms of yellow and green in diagonally opposing positions.

Jones continued his artistic creation into the 2000s, and in other projects, he used leatherwork by Whitaker Malem. Jones has increasingly popular in recent years for his large steel sculptures, some of which are abstract in origins and feature intertwining figures. Several of them were on display in an outdoor exhibition at Lake Zurich's Art in the Park festival in May 2015. His paintings have also appeared in a number of public and private art shows; three of his works are on display at the Centro de Arte Moderna of the Gulbenkian Foundation in Lisbon, and he also has works in the Ingram Collection of Modern British Art.

He was given an honorary Doctorate of Arts from Southampton Solent University in 2007. He has had solo exhibitions at the Wetterling Teo Gallery in Stockholm and the Serge Sorokko Gallery in Moscow. His works were on view at the National Portrait Gallery in London and included a special room of watercolours, drawing, and paintings. He was given a separate watercolour room at the Royal Academy of Arts in 2008. His work was included in a major exhibition at the National Museum of Wales in Cardiff in April 2013, titled Pop and Abstract, alongside paintings by artists such as Peter Blake and Bridget Riley. In 2013, Allen Jones Remake's parody of Jones Chair sculpture was part of a series on view at the Venus Over Manhattan Gallery in New York. An example of Jones' 1969 Chair sculpture (as well as over fifty other works) remains at the Tate, which was acquired in 2014. A retrospective on Jones opened at the Royal Academy of Arts in November 2014 and ran in London until January 2015.

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