new-york

Allen Jones, Interval, 2007, triptych, oil on canvas, overall 6' × 13' 10 1/4".

Allen Jones

Michael Werner | New York

Allen Jones, Interval, 2007, triptych, oil on canvas, overall 6' × 13' 10 1/4".

A half century and more has passed since the Swinging ’60s, Carnaby Street, teddy boys, even the Stones, all potent reminders of a British cultural liberation that was, admittedly, often perceived negatively—particularly in the stellar example of Allen Jones. His hyperstylized robotic woman–as–idol remains a constant iconographic feature of his work, as this fifty-year survey, organized by Sir Norman Rosenthal, former longtime exhibitions secretary at the Royal Academy of Arts in London, amply documents. The show affirms anew the familiar trajectory of an artist first met as outcast who in time becomes a panjandrum of sanctioned taste. (A presentation of the artist’s Maîtresse works, 1975–2015, a group of paintings and drawings derived from a movie poster, were concurrently on view at Michael Werner’s London outpost.)

A backward glance is much in order. The most controversial

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