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FAILE - UNTITLED - LARGE ORIGINAL

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FAILE - UNTITLED - LARGE ORIGINAL
Item Details
Description
FAILE (b. 1975)

Untitled, 2005

Acrylic and spray paint on wood.

32 x 14 inches (81.3 x 35.6 cm)

Signed and dated in pencil to reverse.

Very minor abrasions to the extreme edges.


FAILE (Pronounced "fail") is a Brooklyn-based artistic collaboration between Patrick McNeil (born 1975) and Patrick Miller (born 1976). Since its inception in 1999, FAILE has been known for a wide-ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage.


While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture-driven iconography to an array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels. FAILE's work is constructed from found visual imagery, and blurs the line between "high" and "low" culture, but recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research into their work.

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FAILE - UNTITLED - LARGE ORIGINAL

Estimate $7,500 - $10,000
Dec 04, 2021
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0028: FAILE - UNTITLED - LARGE ORIGINAL

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Est. $7,500 - $10,000Starting Price $3,000
ArtMeetsStreet Holiday Street Art Auction
Dec 04, 2021 2:00 PM EST
Buyer's Premium 25%

Lot 0028 Details

Description
...
FAILE (b. 1975)

Untitled, 2005

Acrylic and spray paint on wood.

32 x 14 inches (81.3 x 35.6 cm)

Signed and dated in pencil to reverse.

Very minor abrasions to the extreme edges.


FAILE (Pronounced "fail") is a Brooklyn-based artistic collaboration between Patrick McNeil (born 1975) and Patrick Miller (born 1976). Since its inception in 1999, FAILE has been known for a wide-ranging multimedia practice recognizable for its explorations of duality through a fragmented style of appropriation and collage.


While painting and printmaking remain central to their approach, over the past decade FAILE has adapted its signature mass culture-driven iconography to an array of materials and techniques, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, installation, and prayer wheels. FAILE's work is constructed from found visual imagery, and blurs the line between "high" and "low" culture, but recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media, architecture, and site-specific/archival research into their work.

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