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    Emerging Gallerist

    Erin Cluley departs Dallas Contemporary to ignite art scene at Trinity Groves

    Kendall Morgan
    kendall Morgan
    Aug 11, 2014 | 6:00 am

    In her role as director of exhibitions at the Dallas Contemporary, Erin Cluley has worked with today’s most renowned artists — including K8 Hardy, Richard Phillips, Rob Pruitt, Jennifer Rubell and Julian Schnabel. Cluley will take everything she’s learned in the past five years as she exits her current position on August 23 to embark on a new journey: opening her own gallery.

    With her eponymous space in Trinity Groves, she hopes to bring a new outlook on contemporary art. Kicking off September 13, with an exhibition of works by René Treviño, the Erin Cluley Gallery will be the first focused on this genre to reside on the west side of the Margaret Hunt Hill Bridge.

    “There’s an excitement in Dallas right now around artists and collectors, and it’s a good time for the art community,” Cluley says.

    “I’d been thinking about going back into the commercial world,” says the native Texan, who originally joined the Contemporary after four years at C. Grimaldis Gallery in Baltimore. “When I moved back to Texas, I thought I was going to come here, get the lay of the land and open my own space. But when I started working at the Contemporary, I thought the museum path was where I was going to stay.”

    That is, until the fates intervened. During a trip last summer to Salem, Massachusetts, on a lark Cluley sat down for a psychic reading. When it was predicted she’d open her own space, she decided to have a sit-down meeting with Trinity Groves developer Butch McGregor upon her return.

    Cluley’s time spent overseeing the execution of murals by Shepard Fairey, Faile and JR in the area gave her unique insight into the Groves’ artistic potential. McGregor gave her the perfect launching pad in the guise of an affordable 2,000-square-foot metal building on Fabrication Street.

    “There’s something happening over there, and I feel like there’s room for what I want to do,” she says. “Having worked with the people in Trinity Groves, I have great relationships, enabling me to make a great physical space.

    “There’s an excitement in Dallas right now around artists and collectors, and it’s a good time for the art community.”

    The Erin Cluley Gallery will exhibit 10 shows a year from local and East Coast talent, and she hopes to add California artists to the mix in the coming year. In addition to Treviño, Cluley has already slated shows and projects by Baltimore’s Jimmy Joe Roche; Brooklyn’s Hidenori Ishii; and Texas artists Josephine Durkin, Francisco Moreno and Kevin Todora.

    Cluley also plans on continuing the strides she’s made exhibiting public works. These may come in the more traditional sense of murals and sculpture, or as “public interventions,” such as Roche’s “Baltimore in Dallas” ’zine that will appear in the rooms of a local hotel in the coming months.

    “I want to keep the public element going by helping to produce these ideas that are conceptualized by the artists. It might not be in the traditional sense, but it’ll be something that you’re going about your daily routine and you’re unexpectedly surprised.”

    Erin Cluley Gallery will open to the public with a reception on September 13, 6-8 pm. The exhibition “Estrellas” by René Treviño will run through October 11. Hours are Tuesday-Saturday, 10 am-6 pm, and Sunday and Monday by appointment.

    Kevin Todora, Black Lodge Banana, 2013. Direct inkjet on MDO, 60 x 48 in.

    Kevin Todora
    Photo courtesy of Erin Cluley Gallery
    Kevin Todora, Black Lodge Banana, 2013. Direct inkjet on MDO, 60 x 48 in.
    unspecified
    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
    undefined

    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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