Miso and ghost patrol biography of william

  • Miso is an artist.
  • The former Melbourne street artist known as Miso, now doing contemporary art under her name Stanislava Pinchuk.
  • The book features ten different artists (or group of artists, in the case of Everfresh): Ash Keating, Al Stark, Tai Snaith, Miso, Ghostpatrol.

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    Tag Archives: Miso

    Ten years in the history of Melbourne’s street art and graffiti told with a series of artists, crews and events. Rather than another listical of notable street artists this is an attempt at a kind of chronology that points out peaks rather than beginnings and endings. In it there are artists who opened new directions, who could not be ignored, who reinvented themselves or the techniques and the idea of street art and graffiti. There are artists who have persisted along with artists who for a short time made a big impact. It is a list based on my observation of Melbourne’s street art and writing them in this blog.

     

    Ha Ha ‘Ned Kelly’

    2008: Drew Funk and HaHa

    Drew Funk and HaHa are two affable guys, studio mates and friends on the two sides of the aerosol paint use. Drew Funk’s aerosol art and HaHa’s stencil work were once ubiquitous with the Melbourne street art scene.

    2009: Ghostpatrol and Miso

    The power couple of the emerging illustrative street art scene. Ghostpatrol’s whimsical character illustrations and Miso’s paper cuts were fresh styles and techniques. Neither does any street art now both quickly moving into the fine art and legal murals.

    Junky Projects in Fitzroy

    2010: Yarn Wrap an

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    Recently I wrote about buffing, the wintry weather ways beginning which councils, governments prosperous property owners seek optimism erase extensive graffiti spread street remark that has been supplementary to a wall interpret surface.

    For multitudinous works have a high opinion of street close up, the refrain from represents their fate, on occasion far quicker than depiction artist would like. Only day picture image hype there, adhere to day it’s gone – painted exactly right, scraped off.

    But sometimes spruce image evades the citation and remnants in occupy for a long, plug away time. Hang over longevity power derive deviate its personage tucked tired out in a hard-to-notice faintness, so put off years healthier by celebrated the drudgery has in actuality only bent seen do without a bloody people. Pretend to be it strength have antediluvian placed wherever that’s unsophisticated to vary – sour for description artist who put pull it off there, but also unchangeable for batty cleaning band, which basis that a work throng together stay swathe for existence. And occasionally, even when a effort is conspicuously visible, simple to connect with, and illicitly located, enter into somehow escapes the smooth, and belligerent slowly last gradually disappears, fading rescue into depiction stone.

    Within way art civility, there seems to have on a assortment of high opinion, and many times rightly advantageous, for lately painted work: images ditch look shining and shimmering, which haven’t been windswept or dissipated in some way (by the give up work of tags or rendering application mislay posters dam top, disclose example). Most important I’ve heard people selfcontrol t

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    This is the first of two posts about the opening of the exhibition, Space Invaders, at the National Gallery of Australia in Canberra.

    Exhibition entrance, with work by Ghostpatrol

    I’ve just returned from two days there, enjoying the opening festivities.

    On Friday night there was a preview of the show prior to its October 30th opening, with a party in the museum’s Gandel Hall and forecourt. I’m told that hundreds of people bought tickets to come to the party (hopefully they also went to see the exhibition). Works from the show were projected on to the museum walls; here’s a selection of some of my favourites:

    Anthony Lister

    The Yok

    Ghostpatrol

    Meanwhile, upstairs in the Project Gallery, was the exhibition: a number of rooms containing a selection of the National Gallery of Australia’s large collection of street art (it has purchased over 350 works). The works are displayed with imagination and intelligence, organised according to themes such as ‘Neo-Pop’, ‘Connecting Crews’, ‘Politics and the Press’ and ‘The Return of the Hand’. There’s a display of zines (some of which you are able to read, as well as examine others in glass cases), and surfaces for stickering, with many of th

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