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    Art and About

    Where's Heinrich? Kühn exhibition at MFAH leaves lots of tantalizing clues

    Joel Luks
    Mar 20, 2011 | 1:00 pm
    • Heinrich Kühn, Austrian, "Wiese in Birgitz" (On a Meadow in Birgitz), "Hans undMary Sitzend" (Hans und Mary sitzend), c. 1908
      © Diether Schönitzer
    • Heinrich Kühn, "Violets," c. 1908
    • Heinrich Kühn, "Lotte and Mary in a Meadow," c. 1908
    • Heinrich Kühn, "Im Atelier" (In the Studio)
      © Diether Schönitzer
    • Heinrich Kühn, "Karaffe mit Blumen" (Carafe with Flowers), 1907
      © Diether Schönitzer
    • Heinrich Kühn, "Miss Mary Sitting," c. 1908
      © Diether Schönitzer
    • Heinrich Kühn, "Mary Warner and Edeltrude," c. 1908
    • Heinrich Kühn, "Sommertag" (A Summer Day), 1898
      © Diether Schönitzer
    • Heinrich Kühn, "Mrs. Schwind," c. 1908
    • Heinrich Kühn, "Walter und Lotte an der Staffelei" (Walter and Lotte at theEasel), 1909
      © Diether Schönitzer
    • Heinrich Kühn, "Wilhelm Schwind," c. 1908

    I love photography.

    As someone who cannot draw at all, the ability to capture images and control the things I know how to manipulate gives me a sense of artistic accomplishment.

    If I screw something up, there is always software to help me alter variables digitally. Though I am not an expert at taking or editing images, I have enough tools in my arsenal to entertain myself for days.

    We tend to think of this kind photographic image manipulation as a Photoshop-era phenomenon. But at the Museum of Fine Arts, Houston's recent opening of Heinrich Kühn: The Perfect Photograph, I discovered that the practice can be traced to the Austrian pictorialist.

    And he did not have a Mac to do so.

    This inspired an "Art and About" adventure.

    As a scientist, Kühn knew how to work his materials and processes to have the freedom of painting and get the exact color tonalities he sought. The negative was just the beginning — unlike Ansel Adams, who attempted to capture everything in the negative and even devoted a book to this philosophy.

    Kühn preferred gum bichromate printing, a technique new for his time. Using pigment in lieu of silver as the light sensitive element (the same pigment that was use for drawings), Kühn would hand-apply the substances to achieve his desired effect. Only the way the pigment was attached to the paper was completely photographic, giving the work the feeling of a charcoal drawing or etching.

    His works elevated the stature of photographs as an accepted artistic medium, similar to painting.

    The exhibition gives viewers a chance to appreciate Kühn's control, also gaining insights into his thought and creative processes.

    Kühn might change the paper, process, color, crop the picture, remove part of the picture or a person, change the sofa, add a highlight or blur a section, and he continued to do so long after he took the negative.

    Here is the challenge. Almost like a game of Where is Waldo?, perusing the exhibition is akin to a fun detective game, exercising your power of observation.

    Can you find the changes?

    Joel Luks gains insights into Heinrich Kühn's works with the help of Anne Tucker, MFAH curator of photography, and Monika Faber, chief curator of photography at the Albertina, Vienna.

    unspecified
    news/entertainment

    Movie Review

    Michelle Pfeiffer visits Houston in new Christmas movie Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 3:30 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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