A special installation recently opened at MoMA of James Rosenquist’s F-111, an 86-foot-long painting that the artist designed to extend around all four walls of the Leo Castelli Read More
The F-111
ROSENQUIST: Perhaps because my father had been a pilot and I wanted to be one, too, I’d always been interested in new aircraft. That was my hobby—airplanes. I knew every airplane ever made. In late 1964 I noticed a photograph of an airplane that was in the experimental stage. It had probably not been flown at that point. It was called the F-111. I never saw the plane itself, since it was top secret, but I managed to get some photographs and plans of it.
I remember thinking, How terrible that taxpayers’ money is being spent on this war weapon that is going to rain death down on some innocent population halfway around the world for some purpose we don’t even understand, while at the same time this warplane is providing a lucrative lifestyle for aircraft workers in Texas and on Long Island…I asked myself…Why is this new plane, the F-111, being built? For defense? Defense against what? When you think of the conflagrations and all the money spent on obsolete weapons that could have gone into health research, hospitals, and public works, it was such misguided thinking. So, one idea I wanted to include in this painting was about the lapse in ethical responsibility. We were paying income taxes for what seemed to be an already obsolete fighter plane, for a war machine that was this monstrous vacuum cleaner for taxes. Under the Johnson administration, we were being subjected to an even bigger vacuum cleaner: the Vietnam War.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist