Difference between revisions of "The Randy Rawholes"
| Line 1: | Line 1: | ||
Consisting of [[Dean Ballinger]] and [[Jamie Stone]], the Randy Rawholes were more of a collaborative conceptualisation of the possibility of progressive artistic practice in fin-de-siècle Hamilton than a band as such. An inflatable sheep with a simulated human vagina was used to comment on the "superstructural" utopia/dystopia of the so-called "global" new economics; the architecture/non architecture, inhabitation/non-inhabitation of sprawling malls, techparks, multiplex hotels, spiritless poverty and highway infrastructure creeping the globe. While Andy Warhol's name was played upon, his spirit was trampled upon by this devastating critique of the apathy and moral decay inherent in bourgeois American art, and more widely, in Western notion of postmodernity. | Consisting of [[Dean Ballinger]] and [[Jamie Stone]], the Randy Rawholes were more of a collaborative conceptualisation of the possibility of progressive artistic practice in fin-de-siècle Hamilton than a band as such. An inflatable sheep with a simulated human vagina was used to comment on the "superstructural" utopia/dystopia of the so-called "global" new economics; the architecture/non architecture, inhabitation/non-inhabitation of sprawling malls, techparks, multiplex hotels, spiritless poverty and highway infrastructure creeping the globe. While Andy Warhol's name was played upon, his spirit was trampled upon by this devastating critique of the apathy and moral decay inherent in bourgeois American art, and more widely, in Western notion of postmodernity. | ||
| + | {{Band-Stub}} | ||
[[Category: Bands]] | [[Category: Bands]] | ||
Revision as of 20:11, 6 April 2006
Consisting of Dean Ballinger and Jamie Stone, the Randy Rawholes were more of a collaborative conceptualisation of the possibility of progressive artistic practice in fin-de-siècle Hamilton than a band as such. An inflatable sheep with a simulated human vagina was used to comment on the "superstructural" utopia/dystopia of the so-called "global" new economics; the architecture/non architecture, inhabitation/non-inhabitation of sprawling malls, techparks, multiplex hotels, spiritless poverty and highway infrastructure creeping the globe. While Andy Warhol's name was played upon, his spirit was trampled upon by this devastating critique of the apathy and moral decay inherent in bourgeois American art, and more widely, in Western notion of postmodernity.
