Many Austinites have stopped by the art studio compound Canopy at some point to explore, but next month a newcomer freshens things up. Open Canopy, the first Saturday afternoon every month, welcomes the locally well-known artist-run collective and magazine Almost Real Things (ART) for the first time February 7.
ART had a big year in 2025, when it took control of the citywide Austin Studio Tour. The annual event has been around for more than 20 years, and it's become one of the biggest and most inclusive art happenings in the city. But the dissolution of Big Medium, the nonprofit that organized it, meant that it needed a new steward. ART stepped in and helped artists across the city welcome locals to their studios, host pop-ups, and more.
Open studios are business as usual for ART and for Canopy, so this should already be a well-oiled machine. There will be 57 studios participating, showing off the work of more than 72 artists.
Another important, less visible change: as of summer 2025, Canopy's immediate neighborhood is considered the Govalle Cultural District, unlocking funding from the state. Canopy's presence was important for the designation, which was given as a result of the area's high artist population.
Even when there aren't new studios and news from the state, Open Canopy is a good place for art-lovers to congregate monthly. More than 300 people pass through each time the event is held, and seeing the art makes it easy to strike up conversations with others taking it all in. The artists are also usually happy to talk about their inspiration and process, giving a deeper look into what's on display.
Open Canopy takes place at 916 Springdale Road from 1-4 pm.
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.
