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• W231931415 abstract "In my hungry fatigue, and shopping for images, went to neon fruit supermarket, dreaming of your enumerations! --Allen Ginsberg, A Supermarket in California (1955) [1] James Rosenquist's F-111 (1964-5, fig 1) manipulates visual codes of American Cold War culture to prophesy a future when cyborgs will plunder neon fruit supermarket for their post-nuclear families. Rosenquist populates F-111 with two cyborgs, two bionic humans enmeshed in machinery of Cold War consumerism: a grinning girl under a hairdryer peers at a Day-Glo landscape, while a deep-sea diver exhales a mushroom cloud. Like fragmented, manipulated consumer objects crowding image, these figures dissolve and reform, providing husks to be inhabited by a cast of gendered characters from modern life: daughter, suburban housewife, Cover Girl, breadwinner, Jet-Man, and Organization Man. [FIGURE 1 OMITTED] [2] In 1985, Donna Haraway posted a Manifesto for Cyborgs in attempt to formulate a feminist theory free from dualisms that retrench gendered hierarchies such as patriarchy and colonialism. Haraway visualized an ironic, political myth centered on cyborgs, creatures of a post-gender that live in integrated circuit, a network simultaneously public and private, industrial and domestic (173, 175, 193). In Homes for Cyborgs, architectural historian Anthony Vidler characterized Haraway's work as a political maneuver intended to create awareness of both extent to which these dualisms shape theory and practices of modern life and possible coexistence of incompatible things in a new order (Haraway 173). Jen Fleissner noted that one of [Haraway's] trickier but most crucial moves was to invoke cyborg simultaneously as a sign of our present postmodern condition (and hence of late capitalism, military-industrial complex and all those other bad things) and as a utopian figure, a resource for feminist resistance (20). [3] Haraway's brave new world populated by genderless technobodies dissolves boundaries drawn by modernist systems of object, body, optical, and home (Vidler 149). Similarly, Rosenquist fashions a new order by using fragmentation, enlargement, repetition, and juxtaposition to fuse organic and inorganic, male and female. Gender determines Rosenquist's conception of cybernetic culture, as it did Haraway's myth. The vaginal cake and phallic jet, grinning girl and deep-sea diver personify gender roles established by American, postwar, consumer economy. Through fragmentation and juxtaposition, Rosenquist explores relationship between masculine body and military technology (Jet-Man) and between feminine body and domestic technology (Cover Girl). Yet like Frankenstein, a creature born of scientific machinations of Age of Reason, Jet-Man and Cover Girl, as technobodies of Atomic Age, marshal resources independent of their creator. F-111 both enacts and subverts Rosenquist's ironic vision of cybernetic sublime. Cover Girl [4] In June 1972, Rosenquist's grinning girl appeared on cover of Artforum, inaugurating her career as Cover Girl. Here, mechanically reproduced on slick and glossy paper, she serves as a synecdoche for F-111, for Rosenquist's oeuvre, and for ideological dualisms of American Cold War culture. For example, scientific progress yielded both technological innovation and potential for nuclear annihilation, nuclear family coalesced at expense of kin networks and multigenerational families, and revival of domesticity and traditional gender roles assuaged fears concerning national identity (May). Rosenquist endorsed her centrality, emphasizing that the little girl is female form in picture, and affirmed her presence as antidote to abstraction: I thought of taking face out many times, but then whole would be closer to what is historically look of abstract painting (qtd. …" @default.
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• W231931415 title "Jet-Man Meets Cover Girl at the F-111: Gender and Technology in James Rosenquist's F-111" @default.
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