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    Museum news

    5 fascinating works by Frida Kahlo come to Dallas for a limited time

    Stephanie Allmon Merry
    Jan 5, 2021 | 11:53 am

    Dallas fans of Frida Kahlo will get a rare treat this spring when a local museum displays five privately held works by the renowned Mexican painter. The Dallas Museum of Art will present "Frida Kahlo: Five Works," March 7-June 20.

    The showcase will include four paintings and a drawing on loan from a private collection, courtesy of the Galería Arvil in Mexico City. It will run simultaneously with "Devoted: Art and Spirituality in Mexico and New Mexico," featuring works from the DMA’s Latin American collection.

    The works in the exhibition will reflect the events and experiences of Kahlo's life (1907-1954), while exploring larger aspects of her artistic practice, the museum says.

    "In her lifetime, Kahlo’s work was well-known in artistic circles, particularly in Mexico and the United States," the museum says in a release. "In the years since her death in 1954, her work has garnered ever-increasing critical attention and international praise. Today, her fame is so widespread that she has gone from being simply a celebrated artist, to a global cultural phenomenon."

    Pieces on display (with descriptions given by the DMA) include:

    • The drawing View of New York (1932), which captures the vista from Kahlo’s window at the Barbizon Plaza Hotel, where she and husband Diego Rivera stayed during a segment of their sojourn in the United States.
    • Diego and Frida 1929-1944 (1944), an intimate painting still housed in the original shell-covered frame selected by Kahlo; a personal memento created by the artist to mark her 15-year relationship with Rivera.
    • Sun and Life (1947), in which Kahlo draws on her extensive knowledge of art and spirituality from throughout history to weave an intense rumination on the cycle of life and death.
    • Still Life with Parrot and Flag (1951) and Still Life (1951), in which we see Kahlo exploring the potential of a genre that would dominate her final years — the still life. "In both works, Kahlo pushes the boundaries of traditional still-life painting, transforming her assemblages of native Mexican fruits, national symbols, and ancient artifacts into ruminations on her own identity," the DMA says.

    “It is always exciting to delve into the works of a dynamic artist like Frida Kahlo,” says Dr. Agustín Arteaga, the DMA’s Eugene McDermott Director, in the release. “This generous loan will offer our visitors a chance to look closely at these five works and explore the many stories they can tell about Kahlo, her remarkable work, and her inspiring life.”

    The exhibition is curated by Dr. Mark A. Castro, the Jorge Baldor Curator of Latin American Art. Castro and the DMA’s Painting Conservator Laura Hartman have used non-invasive imaging techniques, such as x-radiography and infrared photography, to get a closer look at three of the paintings and further explore Kahlo's techniques for the public to see.

    “At a time when art has become a critical source of solace and inspiration for many of us, this small installation offers a glimpse into the work of one today’s most admired artists,” says Castro.

    The exhibition will be included in free general admission to the DMA. A virtual tour will also be available at virtual.DMA.org.

    Frida Kahlo, Diego and Frida 1929–1944, 1944

    Frida Kahlo, Diego and Frida 1929 \u2013 1944, 1944
    Photo courtesy of Dallas Museum of Art
    Frida Kahlo, Diego and Frida 1929–1944, 1944
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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    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 Marie Antoinette: Vampire Queen of Versailles 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."

    ---

    Stephanie Allmon Merry contributed to this story.

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