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    Museum milestones

    SMU's Meadows Museum marks milestone occasion with 2 new exhibitions

    Stephanie Allmon Merry
    Dec 16, 2020 | 11:31 am
    Beach at Portici by Mariano Fortuny, Meadows Museum
    Beach at Portici by Mariano Fortuny will be on display during Meadows' 20th anniversary exhibitions.
    Photo courtesy of Meadows Museum

    No one knows how to party like SMU, and this spring, Meadows Museum will celebrate 20 years in its Bishop Boulevard building with not one, but two special exhibitions.

    The stately Collegiate Georgian, red-brick building, designed by Chicago architectural firm Hammond Beeby Rupert Ainge, opened to the public in 2001. Over the last 20 years, "the new building," as some still call it, has become a prominent landmark near the campus entrance off Mockingbird Lane. It has also grown to house one of the most significant collections of Spanish Art in the United States.

    "It's a major milestone," says Mark A. Roglán, the Linda P. and William A. Custard Director of the Meadows Museum in a release. "In 20 years, we have doubled the size of our collection and assembled groundbreaking international loan exhibitions in collaboration with distinguished collections from around the world ... achieving the vision of our founder, Algur H. Meadows, to create a 'small Prado for Texas.'"

    The anniversary will be marked with two commemorative exhibitions: "Building on the Boulevard: Celebrating 20 Years in the Meadows Museum's New Home" and "Fossils to Film: The Best of SMU's Collections." Both will be on view March 14-June 20, 2021.

    "Building on the Boulevard: Celebrating 20 Years in the Meadows Museum's New Home" will be a tribute to the achievements made possible by the vital structure, the museum says. Included will be architectural drawings and renderings, commemorative installations, and "materials celebrating the impressive international loan exhibitions, innovations in educational programming, and other significant milestones."

    The permanent collection of Spanish masterpieces will be reinstalled for the occasion. Highlights from the 250 exceptional works the Meadows has acquired over the last two decades will include Goya’s Visions, 1819-23; Fortuny’s Beach at Portici, 1874; Dali’s The Fish Man, 1930; and the earliest work in the collection, Pere Vall’s Saint Benedict and Onophrius, 1410.

    A complementary special exhibition, "Fossils to Film: The Best of SMU's Collections," will celebrate the museum's relationship with the university. It's the first time Meadows will host highlights from nine distinct campus collections at the same time: the Underwood Law Library, G. Williams Johns Film and Video Collection, Bywaters Special Collections, Hamon Arts Library, the Shuler Museum of Paleontology, DeGolyer Library, the Department of Anthropology, Bridwell Library, and the noted University Art Collection (made up of works donated by alumni and friends of SMU, including influential painters Jerry Bywaters and David Bates).

    "Over 100 exquisite works of art, intriguing artifacts, and rare specimens will be on display, many of which will be exhibited outside their home departments for the first time," the museum says. "From the Pleistocene epoch to the present, these diverse holdings include the earliest surviving crocodile skull, the only surviving footage of Martin Luther King Jr.'s visit to Dallas, and the earliest illuminated manuscript in the state. These items are comprised of donations, as well as university acquisitions and groundbreaking discoveries uncovered at excavations by SMU faculty, staff and students."

    Although the current building is just 20 years old, Meadows Museum dates back to 1962, when Dallas businessman and philanthropist Algur H. Meadows donated his private collection of Spanish paintings, as well as funds, to SMU to start a museum. The museum opened to the public in 1965.

    The current structure is six times larger than its previous home and not only houses the largest collection of Spanish art outside of Spain, but its collection spans the 10th to the 21st centuries and includes medieval objects, Renaissance and Baroque sculptures, and major paintings by Golden Age and modern masters.

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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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