Reflections on art and architecture by TIME critic Richard Lacayo.

Ansel Adams in Color

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Pool, Kaibab Plateau, Arizona, Ansel Adams, 1947/Ansel Adams

I've been looking through a new edition of Ansel Adams in Color, a book first published in 1993, nine years after his death, that's been re-issued this year with 20 additional photographs. It's a book full of subtle, long-deliberated pictures, which is pretty much what you would expect of Adams, and it led me to think about Adams and color — which, to put it mildly, are not two words you ordinarily think of together. I put those thoughts into a little intro text that accompanies a slide show of work from that book, which we've mounted on Time.com.

(That link will take you to the text. Once you get there the pictures can be accessed by clicking the photo to the left of the second paragraph.)

          

More on Terry Riley's Resignation in Miami

The big surprise on Monday was the announcement by the Miami Art Museum that MAM Director Terry Riley, who came to the museum just three and a half years ago, will step down immediately as director just one week after the museum unveiled the design for its new building. On Monday night Riley sent out a "Dear Friends" e-mail to clarify his resignation.

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Terry Riley Leaving the Miami Art Museum

Miami Art Museum (rendering), Herzog & de Meuron, 2008/© Herzog & de Meuron

Miami Art Museum (rendering), Herzog & de Meuron, 2008/© Herzog & de Meuron

That was fast. I mentioned a few weeks ago that it's not unusual for a museum director to step down after seeing through a major new building or addition at the museum. But it is a bit unusual for them to leave immediately after the architect's plan has been unveiled, especially if they haven't been in the job that long to begin with. It was only last week that the Miami Art Museum (MAM) made public the Herzog & de Meuron design for their new building. And then today, boom, the museum announced the resignation of MAM Director Terry Riley — "effective immediately" —  after just three and a half years on the job.

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Fat City

Benefits Supervisor Sleeping, Lucian Freud, 1995/photo: Christie's

Benefits Supervisor Sleeping, Lucian Freud, 1995/photo: Christie's

This weekend, on October 25, CBS News Sunday Morning, with Charles Osgood, will have a special edition focusing on the problem of obesity in America. That's not the kind of news that ordinarily makes it into an art blog, but part of the show will be a segment on how the human body has been represented in art from prehistory to the present. And tucked among the talking heads will be my head, talking, too.

I will not be offering diet tips from the lady pictured above.

          

Big Names in the Big "D"

Margot and Bill Winspear Opera House, Dallas, Foster + Partners, 2009/photo: Iwan Baan

Margot and Bill Winspear Opera House, Dallas, Foster + Partners, 2009/photo: Iwan Baan

Dallas has spent more than three decades piecing together an ambitious downtown "arts district" in the area around the Dallas Museum of Art. Last weekend the city opened two of the last big parts of the project, an opera house by Norman Foster and a theater by Rem Koolhaas and Joshua Prince-Ramus. I went out recently to take a look.

There's also a little slide show here.

          

Shepard Fairey vs. AP: The Plot Thickens

I was intrigued by a position the Associated Press took yesterday when it filed new court papers in its countersuit against Shepard Fairey over his unauthorized use of an AP photo as the basis for his Obama "Hope" poster. Basically, they said: "You lie — some more".

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Richard Rogers vs. Prince Charles: Again

Maggie's Centre, London, Richard Rogers, 2008/photos: Rogers Stirk Harbour + Partners

Maggie's Centre, London, Richard Rogers, 2008/photos: Rogers Stirk Harbour + Partners

The British architect recently won the Stirling Prize, Britain's highest architectural honor. But was the prize meant as a way for U.K. modern architects to give the finger to Rogers' prime antagonist — and theirs — Prince Charles? Sort of like an Obama Peace Prize that's a shot at George Bush? Rogers won't hear of it, but it's hard not to see it that way.

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Shepard Fairey: Hopeless

Hope, Shepard Fairey, 2008

Hope, Shepard Fairey, 2008

Shepard Fairey, the artist behind the ubiquitous Obama "Hope" poster, admitted over the weekend that he had lied about which photo he used as the basis for the image. Ouch.

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The New Barnes

Barnes Foundation, aerial view, (rendering), Tod Williams Billie Tsien Architects, 2009/all photos: Barnes Foundation

Barnes Foundation, aerial view, (rendering), Tod Williams Billie Tsien Architects, 2009/all photos: Barnes Foundation

Because there was a heavier than usual influx last week of art stories that needed fast attention I postponed comment on the design for the new home of the much-fought-over Barnes Foundation in Philadelphia, which was unveiled last week. So, taking a deep breath...

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Damien Hirst: Dead on Arrival

The Meek Shall Inherit the Earth, Damien Hirst, 2008/photo: Damien HIrst and the Wallace Collection

The Meek Shall Inherit the Earth, Damien HIrst/photo: Damien HIrst and the Wallace Collection

After years of doing installation art, dead animals in formaldehyde and pictures painted entirely by his small army of studio assistants, work that made him one of the most famous artists in the world, Damien Hirst is showing paintings in London this week that he did all by himself. And the British critics are tearing him to pieces.

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