Technically speaking, the high-rise at 2100 Ross Avenue could already be considered part of the Dallas Arts District. But the announcement of a soon-to-be-added, large-scale art project at the building, which houses Samar by Stephan Pyles, strengthens the case for inclusion.
Cousins Properties Incorporated, which bought the building in fall 2012, is planning a number of renovations, most notably a magenta steel sculpture called Allotrope Exi, by artist Tristan Al-Haddad. The sculpture will not just stand outside; it will also become part of the building itself, wrapping around parts of the exterior and weaving into the lobby.
If the vision in the renderings come to fruition, it's the type of eye-catching work that helps a building stand out on the block. Additionally, works by local artists will also be displayed in the public areas of the building, giving visitors yet another free chance to get some culture in the neighborhood.
Some of the other renovations at the building include removing frosted pillars on the Ross Avenue side, which will create space for patio seating and a new bocce ball court at Samar. The restaurant will also be enlarging its indoor dining area, redesigning its bar and installing a new entrance, changes that will force a temporary closure of the restaurant in July.
That sounds like a lot of turmoil, but Larry Gellerstedt, Cousins’ president and CEO, promises it'll be worth it.
"When renovations are complete, 2100 Ross will feel like a new building," Gellerstedt said in a statement. "When you walk by or work at [the building], you will know you are in the Arts District."
Construction on some of the improvements has already begun, and the owners expect all work to be completed by March 2014.
The sculpture will wind its way in and out of the lobby at 2100 Ross.
Photo courtesy of Cousins Properties
The sculpture will wind its way in and out of the lobby at 2100 Ross.
It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.
During the onstage conversation at the University of Texas at Austin, 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.
Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.
In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.
"Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."
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.
Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin
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 a press release. 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 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."
Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin 