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    Hotel News

    New Dallas Arts District hotel opens with art objects you want to touch

    Candy Evans
    Dec 11, 2019 | 5:23 pm

    "This is the end of a long journey," said Craig Hall on December 3, cutting a red ribbon draped across the free-standing lobby staircase of his newest gem, the Hall Arts Hotel. "It's got a lot of soul. A lot of hotels are bland and not unique: we have 28 different room types!"

    It not only has soul, it is the prolific Dallas-based developer’s (and his wife, Kathryn’s) newest masterpiece, the very first luxury hotel to grace the Dallas Arts District. Perched at the corner of Ross Avenue and Leonard Street, the 183-room, 10-story luxury hotel is right across the street from Pritzker Prize-winning architecture and celebrated arts venues.

    The hotel is the first part of a $250 million development that includes a luxury high-rise condo tower next door expected to epitomize luxury living in Dallas. The HALL Arts Residences are expected to open in spring of 2020.

    The passion for art is woven into the DNA of the property. Hall Arts Hotel offers a diverse collection of impactful, thought-provoking works of art celebrating established and emerging talents.

    Hall Arts Hotel is not just another well-crafted luxury boutique hotel. It is a showplace for a collection that the Halls, avid modern art collectors, personally approved.

    And to truly let the art be the focal point, HKS architects kept the backgrounds, from walls to furnishings, soft and neutral. Where there is no neutral, there is floor-to-ceiling glass brimming with sunlight.

    The art was collected in a collaboration with Virginia Shore, former chief curator of the U.S. Department of State’s ‘Arts in Embassies’ Program, and Dallas’ revered art advocate (and HALL Group private curator) Patricia Meadows, for the commissioned pieces, some of which are yet to come.

    Collection highlights are evident right at the front door. A vibrant overhead sculpture of ruby-hued tambourines hangs at the hotel entrance and over the seating area, the reds so vivid I asked if it was perhaps a holiday sculpture. It is not. It is Lava Thomas’s “Resistance Reverb: Movements 1 & 2,” a nod to the historical use of tambourines by protestors and advocates during times of activism including the Women’s Marches (and another reason why I loved it).

    An ethereal, delicate light installation overhead in the dining room, called Ellie’s after Craig Hall’s late mother, is Spencer Finch’s “Asteroid,” said to visualize Finch’s experience of nature. Ellie’s takes inspiration from Napa Valley, where the Halls own their famous winery, offering coastal dishes and farm-fresh ingredients. Perched on the second floor, with a black grand piano on a platform, Ellie’s Restaurant + Lounge is the property’s main dining facility for breakfast, lunch, dinner with live music and entertainment five nights a week.

    A sculpture near the elevator called 6302 Spoons, 2012, by Najla El Zein consisted of metal spoons depicting a nasal-like shape made me want to touch. Spoons!

    But wait until you walk into the 2,500 square foot Grand Ballroom (able to accomodate 250 people) for the most vivid, soft floral wall of art by Clare Woods, The Right Kind of Boy by Clare Woods.

    There are 28 types of rooms, each inspired by the Dallas Arts District. Designed by HKS Architects with interiors by Bentel & Bentel, the rooms are sophisticated and luxurious with padded leather headboards that extend behind the side tables, soft tones, beverage centers, huge showers, vessel tubs in the larger suites, luxe towels tucked under dual master sinks, Natura Bissé bath products by La Bottega, and lush king beds made up in Frette linens.

    Even the keyless entry is unique and artistic.

    The guest rooms and hallways feature local photographs that showcase vibrant scenes of the Dallas Arts District, which were compiled by Meadows following the conclusion of the Arts District’s ‘Through the Lens’ photography competition. The images were selected and compiled into a beautiful coffee table book titled “Through the Lens: Dallas Arts District,” from which all sales proceeds will go back towards the Dallas Arts District Foundation’s grants fund, which provides grants to local arts organizations to program throughout the district.

    It’s a district bereft of life – without a ticket, there’s no reason to be there. Besides theater traffic, the only activation comes from the occasional outdoor event or wayward food truck from Klyde Warren Park. With hotel guests, all the art, and Ellie’s filling up with chatter and music, well, there is your life!

    Crescent Hotels and Resorts is operating the hotel, which has already had its soft opening. HALL wines from St. Helena and Rutherford are already being poured at the reception desk. Crescent is an award winning, nationally recognized, top-3 operator of hotels and resorts operating over 100 hotels, resorts & conference centers in the US and Canada. Crescent also operates a collection of legendary independent lifestyle hotels and resorts under the Latitudes Collection umbrella. The new HALL Arts Hotel is also the only Dallas hotel qualified to be a member of Leading Hotels of the World, a portfolio of luxury hotels focused on pampering guests with amenities and services, “united not by what makes them the same, but the details that make them different.”

    ----------------------

    A version of this story originally appeared on CandysDirt.com.

    Lava Thomas' Resistance Reverb: Movements 1 & 2

    Hall Arts Hotel
    Photo courtesy of Hall Arts
    Lava Thomas' Resistance Reverb: Movements 1 & 2
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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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