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Allen Jones, ‘Olympische Spiele München’, 1972, Sims Reed Gallery
Allen Jones, ‘Olympische Spiele München’, 1972, Sims Reed Gallery
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Allen Jones

Olympische Spiele München, 1972

Lithograph
40 2/5 × 25 1/5 in
102.5 × 64 cm
Under £1,000
Location
London
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About the work
Bibliography
Sims Reed Gallery
London
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Signed in pencil, numbered from the edition of 200.

Signed in pencil, numbered from the edition of 200.

Medium
Print
Signature
Printed on BFK Rives paper by E. Matthieu, Zurich.
Publisher
Published by Editions Olympia.
Allen Jones
English, b. 1937
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Controversial painter and sculptor Allen Jones is best known for his trio of fiberglass figures: Hatstand, Table, and Chair from 1969. The forniphilic series, which rocketed Jones to fame and made him an enemy to feminists, depicts women as furniture. They are placed in poses of submission and vanity, and clad in rubber BDSM costumes. Jones’s style reflects a desire to explore the representation of “the figure” in the context of 1960s minimalism and the decline of figural representation in art. He is fascinated by the effort and fakery people put into presenting themselves, and strives to personify the human condition in his pieces. Jones studied painting in art school but turned to sculpture as a means of giving his forms a true, physical presence. He returned to painting in the 1970s, producing works inspired by mail-order fetish-wear catalogues.

Allen Jones, ‘Olympische Spiele München’, 1972, Sims Reed Gallery
Allen Jones, ‘Olympische Spiele München’, 1972, Sims Reed Gallery
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Bibliography
Sims Reed Gallery
London
Follow

Signed in pencil, numbered from the edition of 200.

Signed in pencil, numbered from the edition of 200.

Medium
Print
Signature
Printed on BFK Rives paper by E. Matthieu, Zurich.
Publisher
Published by Editions Olympia.
Allen Jones
English, b. 1937
Follow

Controversial painter and sculptor Allen Jones is best known for his trio of fiberglass figures: Hatstand, Table, and Chair from 1969. The forniphilic series, which rocketed Jones to fame and made him an enemy to feminists, depicts women as furniture. They are placed in poses of submission and vanity, and clad in rubber BDSM costumes. Jones’s style reflects a desire to explore the representation of “the figure” in the context of 1960s minimalism and the decline of figural representation in art. He is fascinated by the effort and fakery people put into presenting themselves, and strives to personify the human condition in his pieces. Jones studied painting in art school but turned to sculpture as a means of giving his forms a true, physical presence. He returned to painting in the 1970s, producing works inspired by mail-order fetish-wear catalogues.

Allen Jones

Olympische Spiele München, 1972

Lithograph
40 2/5 × 25 1/5 in
102.5 × 64 cm
Under £1,000
Location
London
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
Other works from Allen Jones: Thrill Me | Prints from 1959-2007
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