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    Faile To Succeed

    Brooklyn-based Faile bridges gap between fine art and street at Dallas Contemporary

    Kendall Morgan
    kendall Morgan
    Sep 20, 2013 | 9:04 am

    Since 1999, the two-person, Brooklyn-based collective Faile has been brightening the boulevards of New York City with instantly recognizable imagery — a modern mash-up of advertising graphics, mass media totems and original iconography.

    This innovative high/low mix has taken them from sidewalks and building sites to international street art exhibitions (including the Baltic Centre for Contemporary Art and the Tate Modern) to formal galleries to their first-ever solo museum show, opening this Saturday, September 21, at the Dallas Contemporary.

    Comprising two long-term friends, Patrick McNeil and Patrick Miller, Faile is often spoken of in the same breath as Banksy and Shepard Fairey and with good reason: These self-taught painters, printers and publishers have a freshness and energy to their work that transcends the gallery walls.

    CultureMap caught up with the duo in their Brooklyn studio as they prepped for “Where Wild Won’t Break,” an exhibition of installations, paintings and site-specific works inspired by the American West.

    CultureMap: Tell us a bit about the idea behind your theme for your Contemporary show.

    Patrick Miller: It started with the idea of the West: horses, open skies and cowboys, ideas about Americana. We write a lot of stuff too; one of the lines we use is “Secede to Succeed.” It’s things to relate to Texas. One of the images is someone trying to tame an eagle — there’s an idea of trying to tame something that is inherently chaotic and has a life of its own. In a way, [the theme] relates to our work, working in the streets and working in the studio and trying to embrace and incorporate this chaos into the larger structure of the way we work.

    CM: How did you two meet and start collaborating?

    Miller: We met the first day of high of school when we were 14 in Scottsdale, Arizona. We always had art classes together and, along with being really close friends, we also had really similar styles and appreciated the same type of art work; we were always trading sketchbooks inspired by comic books and baseball cards. Through college it was along the same lines, and there was a point we started talking about doing silkscreen collaborations, and that was the basis for Faile.

    CM: You were originally called A Life. How did the name change?

    Patrick McNeil: I moved down to the Lower East Side in ’99, and we’d already printed our first run of what was going to be A Life. I moved in with a new roommate who said, “There’s a shoe store called Alife you might want to look at.”

    When I walked in, it was the first retail shop/art gallery that was all geared to street art. I talked to the manager at the time, and he had seen our stuff and thought it was Shepard [Fairey] playing a joke. He said, “I don’t want to tell you what to do, but we have more PR and recognition than you do, so before you go bonkers, you may want to rethink your name.”

    We went home and started playing with anagrams, and Faile came out of it. There’s something to “Faile to Succeed,” look past your failures and you’ll find your life. We thought it was powerful and resonated and ended up cutting A Life out of all the posters.

    CM: You’ve gone from stencils to posters to stickers to canvas. How did your process evolve over the years?

    McNeil: As we traveled, we’d go on these long tours and bring a lot of paper, and eventually we’d run out. We’d end up cutting stencils so we can keep things going, and it became a mobile kind of print shop. If we did a pop-up, we’d find windowpanes and scrap wood, and we’d stencil and paint on them.

    Eventually on the street, a poster would get ripped, and you’d come over the top with a stencil, and there would be this level of layers or rebuilding that ended up coming through in the work. The idea on the street is a work would have a life and deteriorate, and that was the beauty of it. In the studio, we’d play with what we’d learned on the street.

    CM: How do you divide duties when you are working on a show?

    McNeil: It’s kind of the same as it was in the beginning. We come up with imagery, which can happen organically, but these days it’s a bit more structured. We’ll go somewhere like the ballet, take a theme and wrap our heads around it. We both crush it together from there.

    The images get thrown into the mix, and from there it can get made into sculpture, applied to prints or stencils. Then they get ripped and broken down and juxtaposed. We’ll have times we’ll sit down and say, “What’s this show about?” We work best with a theme to take in, embrace and tackle.

    CM: Is there a vast difference between creating art for the street and art for an established gallery or museum?

    McNeil: In the beginning, when we used to work a lot more on the street, the street informed the art happening in the studio — the way surfaces broke down, and rips and destruction and staining, they showed up in the work a lot more. As we’ve slowing been working more in the studio, it’s turned around where the studio is informing the work we do on the street.

    Miller: We’re still really inspired by the street, still doing things like photographing a bodega window filled with imagery and type. We never set out to be street artists; when we started it didn’t have that label, it was just people doing interesting things in a direct way. It’s always really important to have the studio side and the street side. It’s very symbiotic.

    ---

    Faile’s “Where Wild Won’t Break” runs September 21-December 22 at the Dallas Contemporary.

    Patrick McNeil and Patrick Miller of Faile, a Brooklyn-based art collective.

    Patrick McNeil and Patrick Miller of Faile
      
    Photo courtesy of Dallas Contemporary
    Patrick McNeil and Patrick Miller of Faile, a Brooklyn-based art collective.
    unspecified
    news/arts

    Ballet news

    Texas Ballet Theater executive director leaving for new gig in Northeast

    Stephanie Allmon Merry
    May 19, 2025 | 2:38 pm
    Vanessa Logan, Texas Ballet Theater
    Photo courtesy of Texas Ballet Theater
    Vanessa Logan joined Texas Ballet Theater in 2016.

    Vanessa Logan, who has served as Texas Ballet Theater executive director since 2016, is leaving TBT for a new role in the Northeast, the company says. Her final day with TBT will be June 30, 2025.

    The move will allow Logan to be closer to her family, the organization says. Her new position has not yet been announced.

    "While we will greatly miss Vanessa and her leadership at TBT, we support her decision to do what is best for her and her family and wish her well in her new pursuit," says TBT board of governors chair Anne T. Bass in a May 19 release. "Throughout her tenure at TBT, Vanessa has demonstrated the highest level of professionalism. It has been a delight to have worked closely with Vanessa over the last nine years, and I am most grateful for her unstinting efforts that have advanced TBT in so many respects."

    Logan joined North Texas' largest ballet company before the 2016-17 season; she previously had worked at the American Repertory Ballet in New Jersey and Boston Ballet.

    "Being part of TBT has been an immensely enriching and transformative experience. Partnering with Artistic Director Tim O’Keefe, working alongside such talented artists, and collaborating with a dedicated administrative and school staff has been a true privilege," Logan says in the release. "I am also deeply grateful for the unwavering support of our committed Board Chair and the Board of Governors, whose vision and leadership have been instrumental. Contributing to productions that bring beauty and artistry to our audiences and nurturing ballet education for countless children in Dallas-Fort Worth has been incredibly rewarding."

    During her tenure with TBT, Logan helped the company navigate through the challenges of the COVID-19 pandemic of 2020 followed by a catastrophic winter storm of 2021; she helped smooth the transition of artistic director from Ben Stevenson to Tim O'Keefe in 2023; and she oversaw new school facilities in Richardson and Dallas. TBT has also begun a 65,000-square-foot renovation of its Fort Worth facility to support future growth.

    "Vanessa’s support and partnership during the transition was phenomenal. I cannot imagine another leader better equipped to guide TBT seamlessly through such a transformational change," O’Keefe says. "Her steadfastness instilled confidence and built trust with staff, students and subscribers as she ensured that we held true to TBT’s mission of honoring classical ballet while embracing a new chapter of artistic evolution."

    TBT’s Board of Governors will immediately start searching for Logan’s successor and will quickly name an interim executive director to oversee operations until a permanent leader is in place, they say.

    Texas Ballet Theater, which is a resident company of both Winspear Opera House in Dallas and Bass Performance Hall in Fort Worth, just closed its 2024-25 season with O'Keefe's all-new staging of the beloved ballet Giselle.

    balletdanceleavinglogantexas ballet theatervanessavanessa logan
    news/arts

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