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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.

    Faile's work is mash-up of advertising graphics, mass media totems and original iconography.

    Faile at Dallas Contemporary
      
    Photo courtesy of Dallas Contemporary
    Faile's work is mash-up of advertising graphics, mass media totems and original iconography.
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    Theater news

    Dallas' Theatre Three asks public for urgent help to keep lights on

    Stephanie Allmon Merry
    May 13, 2025 | 5:13 pm
    Natasha, Pierre, and the Great Comet of 1812 Off Broadway.
    Photo by Chad Batka
    "Natasha, Pierre, and the Great Comet of 1812" ran Off Broadway.

    A longtime Dallas theater company is asking for urgent help. Theatre Three (T3) has made a plea to the community for $200,000 in donations to stay in business.

    In a Facebook post on May 13, they say, "Without immediate and substantial help from our community, we will be forced to close our doors."

    They say they've suffered several years' worth of financial hardships, including effects of the COVID-19 pandemic, and more recently, cuts in arts funding.

    The post says, in part:

    "For 64 years, Theatre Three has been a cornerstone of Dallas’ creative spirit — bringing bold, innovative productions to life and showcasing the extraordinary talent of our local artists, designers, and creatives. We have been an intimate stage for everyone. But now, we face the greatest challenge in our history.

    "After mourning the loss of our beloved Jac Alder, and then, under the leadership of the incredible Jeffrey Schmidt, surviving the immense toll of the COVID-19 pandemic, we find ourselves once again at a significant crossroads. The ongoing erosion of support for the arts has dealt a devastating blow to our funding ...

    Our goal is $200,000. This is not the news we want to share, but it is news that we believe you all would want to know."

    The post is signed by board members Jessica Turner Waugh, Suzanne Burkhead, Rosa Medina-Cristobal, Scott T. Williams, Robert McCollum, Harrison Herndon, David G. Luther, Mia Glogau, and Jon Collins.

    Donations, they say, will help support local artists, staff and creatives to produce their next show, Xanadu; counter the rising costs of rent, insurance, and production; and allow them to retain staff.

    "We know times are tough. But we also know what this theater and its people mean to our city and to the generations who have found meaning, joy, and belonging within its walls," they say. "And that is why we are making this urgent plea. Help us preserve this Dallas institution."

    They end the post with a link to their donation page: https://www.theatre3dallas.com/support/.

    T3's black-box theater Theatre Too's final show of the season is The Mystery of Irma Vep, a fast-paced and campy parody that is on stage now through May 18.

    Theatre Three will close out its current season with Xanadu, a high-energy, roller-skating extravaganza that brings the 1980 cult film to life. Douglas Carter Beane is behind the hilarious book, and music and lyrics are by John Farrar and Electric Light Orchestra (ELO) founding member Jeff Lynne. It is set to run June 5-July 6, 2025.

    In addition to a full season of mainstage productions, Theatre Three offers additional programs for the community throughout the year.

    Monday Night Playwright features unique and affordable opportunities for local writers to showcase their works. Fight Night provides the community and artists alike with movement and other physical skills through monthly stage combat classes.

    The Norma Young Advanced Acting Lab, a collaboration with Booker T. Washington High School for the Performing and Visual Arts, is in its fifth year. Students have access to masterclasses hosted by industry professionals and exclusive insight on the professional production process at Theatre Three, then the course concludes with a professionally produced showcase.

    Theatre Three is located at 2688 Laclede St. in the Quadrangle in Uptown Dallas. For more information in productions and programs, visit their website.

    ---

    Lindsey Wilson contributed to this story.

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