The Contemporary Austin - Jones Center will undergo major renovations in 2016.
Courtesy rendering
Art lovers, rejoice. A new look — and more gallery space — are planned for The Contemporary Austin's downtown location. The organization recently announced plans for a major renovation and expansion initiative that will add significant gallery space to the Jones Center and make the museum's beloved rooftop even more accessible.
The project, made possible by a $1.3 million grant from The Moody Foundation, is slated to begin in summer 2016. To accommodate the renovations, the Jones Center is expected to close in May 2016 with a grand reopening planned for fall 2016.
With the renovation, the museum's exhibition space will increase from 5,100 square feet to 7,000 square feet. This will allow The Contemporary Austin to organize larger-scale original shows and host touring exhibitions of greater size and breadth, notes a release.
Perhaps most notable is the addition of an open-air canopy over the iconic rooftop space, which will be renamed The Moody Rooftop. The permanent canopy will enhance the rooftop with much-needed shelter and shade, while providing the same unparalleled views of Congress Avenue and downtown Austin.
"The expansion and improvement of the Jones Center takes us a long way toward [our] mission, allowing us to mount exhibitions that we wouldn't otherwise be able to bring to Austin and giving us increased capacity to organize illuminating films, concert, lectures, and other public programs on the rooftop," said Louis Grachos, executive director of The Contemporary Austin.
Whether or not you agree with actor Timothée Chalamet's viral assessment of ballet's popularity, it's practically inescapable on the internet right now. Some onlookers are shrugging their shoulders while others leap (jeté, if you will) to the art form's defense; Ballet Austin is taking this unique opportunity to turn a hot topic into a promotion for its next production.
In conversation with Austin actor Matthew McConaughey at the University of Texas at Austin this February, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."
Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.
In response, Ballet Austin posted a clip of the interview March 10 inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to the world premiere of Marie Antoinette: Vampire Queen of Versailles.
"Timothée… you were in Austin? We were literally down the street," the post says. "Austin has brisket. Austin has music. Austin also has ballet."
If they wanted to be a bit wordier, the company also could have added, "Austin has opera," since Austin Opera is, in fact, another local organization that even performs at the same venue, the Long Center for the Performing Arts.
Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.
Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.
Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.
As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to an earlier press release about the production. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.
"For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a short press release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."
If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in. And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."
All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org. The show only runs for three performances from March 27-29.
