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Street Wise

Largest U.S. street art gallery picks Dallas Design District for expansion

Kendall Morgan
kendall Morgan
Jul 24, 2014 | 8:50 am

High-impact and ephemeral, street art is defined by its envelope-pushing graphics and impermanent status. Even works by the notorious Banksy are often damaged or covered up within hours of their completion.

Which is why a space like Lab Art, coming to 315 Cole St. in the Design District in September, is not only welcome in the local art scene, but it’s also sorely needed. The largest gallery dedicated to street art and graffiti in the U.S., the Los Angeles-based Lab Art has been preserving and exhibiting pieces by Skyler Grey, Kai, MAR! LouisXXX and Annie Preece since 2011.

Founded by entrepreneur Iskander Lemseffer, Lab Art’s mission is a personal one. “Street art has never been given the place it deserved in art history,” he says. “It’s always frowned upon, and another artist goes over it or it gets destroyed. I wanted to make it live forever in your home or office.”

“Street art is always frowned upon, and another artist goes over it or it gets destroyed,” says Lab Art founder Iskander Lemseffer. “I wanted to make it live forever.”

Lemseffer developed his passion for preserving the form after working many years in the fashion industry. Commuting back and forth to downtown LA, he was exposed to works by the likes of Shepard Fairey and Alec Monopoly before “street art” became a household term. Burnt out on fashion, Lemseffer tried his hand at a restaurant, finding himself profiting more from the paintings he hung than the food he served.

After throwing a pop-up art event in a friend’s showroom, he decided to take the plunge and create a permanent space. Lab Art’s debut proved quite prescient.

“I was thinking of doing this, and then the Art in the Streets exhibit came along at MOCA [Museum of Contemporary Art Los Angeles] curated by Jeffrey Deitch,” Lemseffer says. “MOCA was on the verge of going bankrupt, and it was the most successful show in their history.”

The 6,000-square-foot “mother ship” opened one month after the MOCA exhibit, and Lemseffer hasn’t looked back since. Lab Art is the youngest and newest member of the Art Dealer’s Association of California, legitimizing its mission. With pieces selling from $1,500 to $200,000, there truly is something for everyone, including celebrity collectors Adrien Brody, Freida Pinto and Sofia Vergara.

Expanding Lab Art to other locations was a consideration when Dallas private equity financiers Eric Rosiak and Adam Persiani discovered the gallery on Instagram. Developing a friendship with Lemseffer during frequent LA business trips, the duo convinced him to bring his concept to the Design District, landing in a 4,500-square-foot space that will exhibit Lab Art’s stable of talent along with locally sourced painters.

Debuting with a wide-ranging “greatest hits” exhibition of painting, sculpture, drawings, photography and mixed media, the Dallas gallery will follow up with a solo show of Alec Monopoly’s work in October.

“The Dallas Design District is booming right now, and I ship so much to Dallas it’s not even funny,” Lemseffer says. “You have this young generation now that’s not buying the classics; they grew up with them and want something fresh and new. They’re not buying Picassos and Rembrandts. They’re buying street art.”

Lab Art opens to the public September 19 at 11 am. Hours are noon-7 pm, Tuesday through Saturday. There is a grand opening reception September 18, from 7-10 pm.

Lab Art in LA, the largest U.S. gallery dedicated to street art.

LAB ART
Photo courtesy of Lab Art
Lab Art in LA, the largest U.S. gallery dedicated to street art.
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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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