
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
Pictured above: James Rosenquist. F-111. 1964–65. Oil on canvas with aluminum, 23 sections. Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). © 2012 James Rosenquist/Licensed by VAGA, New York
The installation is made possible by BNP Paribas
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
ROSENQUIST: As you entered the gallery [the Leo Castelli Gallery, at 4 East 77 Street in Manhattan, where F-111 was first installed in 1965], on the right there were four aluminum panels that shaded into silver-colored strands of spaghetti and then into spaghetti-colored spaghetti in tomato sauce, with the nose cone of the F-111 poking through it. The spaghetti was flak. It was like a World War II plane flying through flak. In F-111, you were flying through spaghetti.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: At resorts in Utah they used to advertise: “Come and watch an atomic bomb test,” as if it were a show. People would sit under beach umbrellas with their iced drinks and watch these mushroom clouds in the desert. So this panel and the previous one are linked. It’s as if you were in Utah at a resort and watching an enormous atomic bomb go off as someone gulps for air or is being killed. The bubble metaphor relates to the bomb. One was wet and one was death.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: The diver with the aqualung gasping for air reminded me of the big gulp of air that a nuclear explosion consumes—which relates to the nuclear explosion in the adjoining panel.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: What intrigued me was the paradox of all these middle-class families prospering from building this death-dealing machine [the F-111], which is why I put the little girl under that bomb-shaped hair dryer. That image was a metaphor for the jet pilot’s helmet. The little girl was really the pilot of the plane just as middle-class society was really the momentum behind the plane. The little girl under the hair dryer is a big-stretch metaphor; this little girl from Texas or Long Island is the thing that was pushing the market that built war weapons. She’s the motivation and the beneficiary of this way of life that guarantees that everybody have all these things—the house in the suburbs, the TV, the washer-dryer, the lawn in the backyard. The grass behind her is painted in radioactive shades of green. The little girl in the painting was a child model. When she saw a picture of F-111 she sent me a picture of herself grown up. She’d become a beautiful blond woman with two beautiful blond children.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: These lightbulbs are falling from the bomb-bay doors. They are red, yellow, and blue—pastel colors like Easter eggs. A lightbulb is a metaphor for an egg; the idea of the fragility of the eggshell and the lightbulb, which both burst when dropped like bombs.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: For me, the hole in the angel food cake was a metaphor for the missile silo. But this and other associations probably weren’t evident when F-111 was [first] shown. The little flags on the cake read NIACIN, PROTEIN, RIBOFLAVIN, and so on. I was always surprised at the idea that food products had to advertise that they had added all these ingredients.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist
ROSENQUIST: I painted the tread on the bottom of the snow tire (which suggests something cold) in a very bold, precise way. It reminded me of a king’s crown. It’s a Firestone tire, but to me it implied the idea of industry, the military-industrial complex, so it represents some sort of capitalistic enterprise like General Motors, which was the highest-grossing corporation during the Vietnam War. It grossed something like $450 million, an astronomical sum of money at the time.
From Painting Below Zero: Notes on a Life in Art by James Rosenquist, published by Knopf. Copyright © 2009 by James Rosenquist