Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE
  • Load image into Gallery viewer, Wonder Wheel 250 Print FAILE

Wonder Wheel 250

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FAILE

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$845.72
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Dimensions: 19.5 x 25 inches / 46.5 x 64 cm

Medium: Hand-Painted Varied Edition of 250 Acrylic and Silkscreen Ink on Heavyweight Archival Paper, Deckled

Provenance: Hand-signed, dated, and numbered by artists. Comes with gallery Certificate of Authenticity.

Edition: Limited Edition of 250 (#93/250)

Year: 2018

Condition: Excellent

 


ARTIST BIO


FAILE (Pronounced "fail") is a Brooklyn-based artistic collaboration between Patrick McNeil (b. 1975, Edmonton, CA) and Patrick Miller (b. 1976, Minneapolis, MN). Since its inception in 1999, FAILE is known for their pioneering use of wheatpasting and stenciling in the increasingly established arena of street art, and for their explorations of duality through a fragmented style of appropriation and collage. During this time, FAILE adapted its signature mass culture-driven iconography to a wide array of media, from wooden boxes and window pallets to more traditional canvas, prints, sculptures, stencils, multimedia installation, and prayer wheels. While FAILE's work is constructed from found visual imagery, and blurs the line between “high” and “low” culture, recent exhibitions demonstrate an emphasis on audience participation, a critique of consumerism, and the incorporation of religious media and architecture into their work.