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    Czech It Out

    MFAH gets more national magazine love — lauded for "must-see" exhibits

    Tyler Rudick
    Mar 8, 2012 | 4:43 pm
    • Karel Teige, Untitled, 1947, collage, collection of Roy and Mary Cullen, fromthe MFAH exhibition, New Formations: Czech Avant-Garde Art and Modern Glass fromthe Roy and Mary Cullen Collection
      © Estate of Karel Teige
    • Jules Olitski, With Love and Risregard: Rapture, 2002, acrylic on canvas,private collection, from the MFAH exhibit Revelation: Major Paintings by JulesOlitski
      Photo by Michael Cullen
    • Aoki Katsuyo, Predictive Dream, 2005, porcelain, from Shifting Paradigms inContemporary Ceramics: The Garth Clark and Mark Del Vecchio Collection.

    Architectural Digest is doling out some love for the Museum of Fine Arts, Houston — honoring not one, but three MFAH exhibits in its most recent "Season's Best Museum Shows" wrap ups.

    All three exhibitions are currently on view, but time's quickly running out for those who haven't caught the museum's intriguing look at Czech modern art.

    Here's what the popular national design magazine wants to make sure you see:

    All three exhibitions are currently on view, but time's quickly running out for those who haven't caught th e museum's intriguing look at Czech modern art.

    New Formations: Czech Avant-Garde Art and Modern Glass (though March 11)

    In December 2011, Architectural Digest placed the museum's exploration of Czech modernism at the head of a pack that includes Maurizio Cattelan's Guggenheim retrospective and the opening of Denver's Clyfford Still Museum.

    Inspired by local collectors Mary and Roy Cullen, who provided the exhibit's pieces, New Formations uncovers a strain of modern art that remained largely hidden to non-Czech citizens throughout decades of Communist rule.

    In more than 150 examples of avant-garde paintings, collages and works in glass, the exhibition examines early homegrown movements like Artificialism and Poetism in the 1920s as well as the country's own take on Art Nouveau and Surrealism.

    Revelation: Major Paintings by Jules Olitski (through May 6)

    The March 2012 issue of Architectural Digest highlights the MFAH's Revelation: Major Paintings by Jules Olitski as one of this spring's "must-see exhibitions."

    Regarded as one of American art’s last classic modern painters, Color Field artist Olitski started his career in the 1960s with expansive canvases of flat yet vibrant colors devoid of brushstrokes. The show traces his constantly evolving techniques and modes, ending with the bold and swirling abstractions he painted in the decade before his death in 2007.

    Shifting Paradigms in Contemporary Ceramics (through June 3)

    The MFAH's look at late 20th and early 21st century ceramics also made the grade for Architectural Digest.

    Through examples taken from what writer Stephen Wallis calls a "pioneering collection" from Garth Clark and Mark Del Vecchio, Shifting Paradigms in Contemporary Ceramics seeks to challenging any traditional preconceptions one might have of the media. The exhibit traces modernist efforts of postwar potters through the new innovations in contemporary ceramics seen today in the work of young artists like Barnaby Barford and Aoki Katsuyo.

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    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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