FAILE 'Almost Rapture' (2016) Rare 25-Color Screen Print

FAILE 'Almost Rapture' (2016) Rare 25-Color Screen Print'Almost Rapture' by Faile, 2016 From the artist duo's 'Savage Sacred Young Minds' series from their exhibition at Brooklyn Museum, 2015 35 x 23 Inches 89 x 58 Centimeters 25 color screen print on 325gsm Coventry Rag fine art paper with deckled edges. A classic FAILE wood block style print. Limited Edition of 300 (#151 300) Hand signed and dated by the artist duo on front. Hand numbered in pencil and stamp dated on reverse. ABOUT THE ART "'Almost

'Almost Rapture' by Faile, 2016
From the artist duo's 'Savage Sacred Young Minds' series from their exhibition at Brooklyn Museum, 2015
35 x 23 Inches
89 x 58 Centimeters
25-color screen print on 325gsm Coventry Rag fine art paper with deckled edges.
A classic FAILE wood block-style print.
Limited Edition of 300 (#151/300)
Hand-signed and dated by the artist duo on front.
Hand-numbered in pencil and stamp-dated on reverse.

ABOUT THE ART

"'Almost Rapture' is the third print in our new 'Savage Sacred Young Minds' series from our exhibition by the same name at the Brooklyn Museum in 2015. The new work is a beautiful 25-color silkscreen print derived from a cropping of the Almost Rapture canvas in the exhibit."

- FAILE

ARTIST BIO

FAILE 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.