Ogier as the professional dominatrix Ariane and Gérard Depardieu as her obsessed lover, the film was refused a certificate in the United Kingdom because of its graphic depictions of sado-masochism. By the mid 1970s, he was again focusing on canvas and painting, and among his notable works at this time were Santa Monica Shores in 1977. Now at the Tate, the work was painted while he was a guest lecturer at the University of California, Los Angeles in 1977, and later that summer he was a visiting director of studies in drawing and painting in Alberta, Canada, at the Banff Center School of Fine Arts. Known for only very occasionally taking on commissions, Jones was commissioned to design a hoarding for Fogal, a hosiery manufacturer, at Basel station in 1978. The Walker Art Gallery in Liverpool held a large retrospective exhibition on his work in 1979, and the exhibit later travelled to the Serpentine Gallery in London. Continuing to travel, he was invited by the Berlin University of the Arts to be a guest professor from 1982 to 1983. By that time, he had largely returned to "a playful stylisation in figure sculptures," including The Tango in 1984, a life-size dancing couple made from steel plate. In 1986, his work was included in the Venice Biennale's Art e Scienza exhibition, alongside artists such as Brian Eno and Tony Cragg, and that year he was elected as a Royal Academician by the Royal Academy. Opened in 1987, Birch and Conran was the first art gallery in Soho, and their inaugural show featured British Pop artists such as Jones, Sir Peter Blake, Richard Hamilton, and Clive Barker. From 1990 to 1999, he served as a trustee at the British Museum, and in 2000 became an Emeritus Trustee. He has works held by the Cass Sculpture Foundation. One of which, the outdoor sculpture Temple from 1998, was a response to the artifice of cultivated landscape... Jones sought to make a sculpture which used that artifice to distort scale and distance and to manipulate our perception of space. Jones's interest derived from eighteenth-century landscape architects, who did this when introducing decorative buildings and follies into their schemes. Also, with the figure at top of the structure Jones uses "colour to introduce the notion of movement in the figure, with the alternate arms of yellow and green in diagonally opposing positions." Recent exhibitions and holdings