An iconic American museum is adding one of Texas' own to its prestigious collection. On Tuesday, February 18, the National Portrait Gallery in Washington, D.C., part of the Smithsonian, announced it had acquired Tomás Ybarra-Frausto in an Aztlán dream by San Antonio-based Cruz Ortiz. The news was first reported by the San Antonio Express-News.
The eight-foot oil painting depicts Tomás Ybarra-Frausto, a Chicano activist and former Stanford University professor, posing in front of an agave plant.
Ortiz's piece will join thousands of other famous images at the museum, including the portraits of President Barack Obama and former first lady Michelle Obama. On Instagram, the artist said he was "incredibly humbled and honored" to learn his work would be added to the Portrait Gallery's permanent collection.
Austin fans of Ortiz can see his work at places like The Liberty, where he created a large-scale mural in the bar's back patio. He is also the brother of Rene Ortiz, chef and co-owner of Launderette and Fresa's.
The Portrait Gallery's acquisition of Ortiz's Tomás Ybarra-Frausto in an Aztlán dream seems a fitting end to the artist's time in San Antonio. Earlier this month, news broke that Ortiz and his wife, Olivia Flores Ortiz, another fixture of the San Antonio art scene, are moving their family to Houston. The pair detailed the decision to return to Ortiz's hometown in an interview with the Express-News, citing family interests and the desire to be in a bigger art market.
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.
