The stunning work from a world-renowned artist has a new home at the University of Texas. On Monday, Spiral of the Galaxy by Marc Quinn was formally unveiled at 15th and Red River streets, the gateway to the new Dell Medical School campus.
The 7-ton bronze sculpture is the latest addition to the Landmarks collection, UT's award-winning public art program. It joins 40 modern and contemporary works, including commissions from some of the most admired artists of our time.
Quinn, known for thought-provoking works like Allison Lapper Pregnant, often explores the relationship between science and art, fitting for the new medical school. Spiral of the Galaxy depicts an elegant conch shell with chambers that gradually expand in an outward direction. There are three other examples of the piece; the one acquired by Landmarks, which was the proof for the series, is the only in the U.S.
"With unprecedented support from our community, we are creating a medical school for the 21st century that draws upon innovative thinking from across disciplines, from engineering to the arts. Public art that starts conversations and inspires creativity and community connections is vital to the environment we envision," said Clay Johnston, dean of the medical school, in a statement.
Spiral of the Galaxy is the first of many future public art pieces for the Dell Medical School. A new photography project by American artist Ann Hamilton will debut at the school in early 2017.
Look for Spiral of the Galaxy at the corner of 15th and Red River Streets.
Photo by Paul Bardagjy
Look for Spiral of the Galaxy at the corner of 15th and Red River Streets.
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.
