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    What They Wore

    Public Dress: Daring photographs of people dressing themselves are spotlightedat MFAH

    Tyler Rudick
    Jul 1, 2012 | 6:04 am
    • Chris Killip, Youth on Wall, Jarrow, Tyneside, UK, 1976, gelatin silver print,printed 1988, The Museum of Fine Arts, Houston, gift of Mark L. Tompkins, TheManfred Heiting Collection
    • Geoff Winningham, Lamé Pants, from the series Houston Livestock Show and Rodeo,1972, gelatin silver print, The Museum of Fine Arts, Houston, museum purchasewith funds provided by the National Endowment for the Arts and Gamma Phi Beta
    • Dan Weiner, May Day, NYC, 1948, gelatin silver print, The Museum of Fine Arts,Houston, gift of the Mundy Companies

    With access to a collection of 28,000 photographs, Natalie Zelt said she's spent nearly five years selecting images for Public Dress — a small-but-intriguing exhibit at the Museum of Fine Arts, Houston that explores the relationship between photography and everyday attire.

    "I've had the idea for the show for a long time, so I've been keeping a ongoing list of images where people are very expressively dressed," she told CultureMap on a recent tour of the exhibition, which will be on view through October at the Caroline Wiess Law building. "When the space became available, I started examining what the pictures had in common and what they had to say."

    In the end, her collection seemed to fall into four basic groups: Uniforms, dressing, special occasions and rebellion.

    "These aren't controlled portraits like Ladybird Johnson posing on a couch," Zelt said, " but rather images of people who have dressed themselves."

    "The show is designed to uncover the way photographers create social narratives with their work by offering clues through the clothing their subjects wear," explained Zelt, who serves as an assistant to renowned MFAH photography curator Anne Wilkes Tucker. "These aren't controlled portraits like Ladybird Johnson posing on a couch, but rather images of people who have dressed themselves."

    Photographers like Robert Frank and Joel Sternfeld create stories from candid street shots while other artists like Janice Rubin reveal a sort of interactive playfulness and interconnectivity with their subjects.

    "This is one of my favorites," Zelt laughed, pointing to a picture of two androgynous club-goers by Houston-born photographer John McBride. "It was taken in the summer of 1985 in front of Numbers. The artist was 19 and spend the whole summer documenting the nightclub scene throughout Houston. This image is such a perfect example of people dressing to look good by their own definition or by that of their peers."

    Above McBride's New Wavers, an image by Carl Clark expresses a similar theme, showing a women donning what appears to be a large white church hat. Towards the far end of the show, a grouping of images by Maripol — who conceived the Madonna's iconic Like a Virgin look — returns to the 1980s club scene with polaroid portraits of New York downtown legends like Debbie Harry and James Chance.

    Public Dress is on view at the Museum of Fine Arts, Houston through Oct. 8 just outside the Brown Auditorium.

    unspecified
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    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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