Austin's Russell Collection Fine Art Gallery will host a compilation of rarely viewed pieces from noted surrealist Salvador Dali. The collection is curated by Christine Argillet, the daughter of Dali's publisher and close friend, Pierre Argillet. Usually housed at the Museum of Surrealism in Melun, France and the Dali Museum in Figueres, Spain, the 100-plus pieces of authenticated work will grace Russell Collection through November 28 and will feature work primarily in the form of copper etchings, drawings, and intricate tapestries.
Christine Argillet spent the summers of her formative years with her father and Dali. She has equated her relationship to Dali as that of an uncle and remembers his sense of humor fondly. The artist was well known for his eccentricities, but Christine Argillet maintains that he was a much more gentle presence around the home. Her father was the original holder of the work which covers a variety of subjects, from classic mythology to the brutality of intimacy to his distaste for bullfighting, a popular activity in his time.
This rare collection, the bulk of which was published in the 1960s, offers a fresh perspective on the artist. Curator Christine Argillet will attend the gallery's reception for "The Salvador Dali Argillet Collection" on November 7 at 6 pm to share stories about the artist and the artwork.
The gallery requests you register to the free event, which is open to the public. RSVP at Russell Collection Fine Art or call 512-478-4440.
Medusa is one of the many pieces of Salvador Dali's exclusive exhibit at Austin gallery Russell Collection.
Photo courtesy of Russell Collection Fine Art Gallery
Medusa is one of the many pieces of Salvador Dali's exclusive exhibit at Austin gallery Russell Collection.
Ballet Austin isn't afraid to add some edge to classic stories.
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.
