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    An Artistic Education

    Dallasites need to get reacquainted with pioneering Goss-Michael Foundation

    Kendall Morgan
    kendall Morgan
    Aug 31, 2014 | 12:06 pm

    Famous for glittering parties, charitable causes and envelope-pushing exhibitions, the Goss-Michael Foundation is taking an even more expansive — yet local and accessible — approach for its 2014-2015 season. No doubt Dallasites will start to think about it in a new way.

    Originally founded in 2007 by Kenny Goss and recording artist George Michael to share their personal collection, the foundation has solidified its mission of pairing philanthropy and art as it has expanded its focus. Goss-Michael may have been criticized in the past for catering to high rollers and high bank accounts, but its big donors and glossy events have enabled it to support local talent alongside mid-career and emerging British artists.

    “We’re using our network to try and create a slight shift in the perception of Dallas,” says new curator Kevin Rubén Jacobs.

    This Dallas-centric approach to exhibitions has been inspired and encouraged by the foundation’s newest curator, Kevin Rubén Jacobs. For Jacobs, who runs OFG.XXX (formerly Oliver Francis Gallery) in his spare time, hanging local works next to the likes of Tracey Emin and Antony Gormley can only be a positive thing for our arts scene.

    “I suppose I’ve been the influence for it not being so Brit-centric because I was doing my own thing for three years, and Kenny wanted to utilize that energy over here,” he explains. “He had the idea of using our back exhibition space to show significant Dallas-based artists.

    “More often than not, people who visit our foundation from Berlin, New York or London will ask with great intrigue about the works. We’re using our network to try and create a slight shift in the perception of Dallas.”

    First up for fall? A dual show opening September 4 that pairs Bright Young Brit painter Adam Ball with Dallas-based mixed media artist Michelle Rawlings. To coincide with this opening, and to introduce these artists to the community in a more intimate way, enthusiasts can lunch with Ball and Rawlings on September 5. This event is the start of an initiative called Fridays (at) GMF, a collaboration with Green House Market in which people can hang out at the foundation, enjoy a farm-to-table lunch and get to know the exhibiting artists.

    This fall the foundation also will launch a curated outpost of Damien Hirst’s Other Criteria shop, which recently opened its first U.S. branch in New York’s SoHo this May. Taking over an old conference room along with executive director Joyce Goss’ former office, Other Criteria + GMF will offer Hirst’s and other major artists’ print editions, books and collectibles alongside work from the Dallas art community — all at a relatively affordable price.

    GMF will launch an outpost of Damien Hirst’s Other Criteria shop, offering Hirst’s and other major artists’ print editions, books and collectibles.

    Expanding its retail offerings lets Goss-Michael support its mission of educational programming, meaning we’ll see more events like the open-to-the-public preview of season seven of the PBS series ART21. The September 18 screening at Texas Theatre, sponsored by the foundation, explores Katharina Grosse’s recent exhibition at the Nasher Sculpture Center. The after-party features music by Lee Escobedo.

    January 2015 brings a traveling exhibition showcasing work by notable Rhode Island School of Design grads, including Huma Bhabha, Katherine Bradford, Dennis Congdon, Jason Fox, Arthur Peña, Ryan Sullivan and Jordan Wolfson. Curated by locally based artist Peña and RISD professor and painter Congdon, the show is a bit of a coup for Dallas. It will eventually move on to Rhode Island, Los Angeles and Chicago.

    But of course, the charitable and social event of the spring season is the fourth iteration of the wildly successful MTV RE:DEFINE. Having raised a jaw-dropping $3.8 million to date for AIDS research, RE:DEFINE returns home to the foundation’s space on April 10, 2015, honoring the work of influencer Michael Craig-Martin.

    “Among [his] talents, it is impossible to ignore his influence as a mentor and professor at Goldsmiths, where he has been impactful to some of the most recognizable names in the art world, including Damien Hirst, Sarah Lucas, Gary Hume and more,” says Kenny Goss.

    Here’s hoping he discovers some Texas talent to take under his wing while he’s here.

    The Goss-Michael Foundation has evolved since its inception in 2007 to include a focus on local artists. But philanthropy and education have remained core parts of its mission.

    the goss-michael foundation, redefine2014
    Photo by Bruno
    The Goss-Michael Foundation has evolved since its inception in 2007 to include a focus on local artists. But philanthropy and education have remained core parts of its mission.
    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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