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    Dubya on Canvas

    George W. Bush portraitist takes us behind the canvas of new work for presidential center

    Alex Bentley
    Apr 22, 2013 | 2:30 pm

    The official opening for the George W. Bush Presidential Center is Thursday, April 25, where Bush will be joined by the four other living American presidents, including Barack Obama. Former British Prime Minister Tony Blair hasn't announced plans to attend the ceremony, but we know he'll at least make an appearance via canvas.

    That's because Blair is depicted alongside Bush in his official portrait titled "The Ties That Bind," a 7-by-9-foot oil painting by renowned portraiture artist Mark Balma, which was commissioned by Dallas real estate mogul Harlan Crow. The painting, like the rest of the building, will be unveiled Thursday.

    Balma credits former First Lady Laura Bush with the idea behind the painting, which shows Bush and Blair conferring in the Oval Office. The scene is supposed to represent the two leaders coming together in the wake of 9/11 and how they would use the American-British alliance to help the world move forward after those tragic events.

    "I’m not a political person at all," says artist Mark Balma. "I’m interested in history and the people that make history."

    Balma is well-suited to paint such a meeting. He's previously been called upon to capture Ronald Reagan and Margaret Thatcher in a portrait called "A Shared Vision," a painting that now resides in the Crow Holdings building in Dallas.

    He also painted President George H.W. Bush alongside four prominent members of his staff in "Resolution," a painting that hangs in the rotunda of the George Bush Presidential Library in College Station.

    Balma says that even though Laura Bush came up with the idea for the painting, his input was far from minimal.

    "Immediately when somebody suggests something, things start popping in my head, and I had an idea for how this might look," Balma says. "Then I start to do the research to find out more about it, and [I met with] President Bush and a number of different individuals that helped give it an authenticity."

    Balma was first approached to do the portrait in 2008 and later had Bush do a series of in-person sittings in the Oval Office. Although he was unable to do the same with Blair, the wealth of pictures and video of the two men together helped Balma conceive the look of the painting.

    He did, however, engage both men in the process.

    "I asked them what they thought of it, and they were pleased with what I had come up with as the concept," Balma says. "With these portraitures, there’s a real diplomacy that’s involved with trying to bring together a lot of ideas that sometimes you think are impossible to bring together."

    Although some may choose to read into how well or how poorly the painting shows Bush and Blair, Balma says politics played no part in what he chose to do.

    "I’m not a political person at all," Balma says. "I’m interested in history and the people that make history. If you can tie [portraiture] to an historical event, it becomes a vehicle by which people can access this time and for future generations to look back in time."

    George W. Bush and Tony Blair are depicted in the Oval Office in "The Ties That Bind," a Mark Balma painting commissioned by Harlan Crow of Dallas.

    George W. Bush and Tony Blair in Mark Balma's portrait The Ties That Bind
    Photo courtesy of Mark Balma
    George W. Bush and Tony Blair are depicted in the Oval Office in "The Ties That Bind," a Mark Balma painting commissioned by Harlan Crow of Dallas.
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    news/arts

    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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