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In 1798 Robert Morris-"financier of the American Revolution," confidant of George Washington, former U.S. senator-plunged from the peaks of wealth and prestige into debtors' prison and public contempt. How could one of the richest men in the United States, one of only two founders who signed the Declaration of Independence, the Articles of Confederation, and the Constitution, suffer such a downfall? This book examines for the first time the extravagant Philadelphia town house Robert Morris built and its role in bringing about his ruin. Part biography, part architectural history, the book recounts Morris's wild successes as a merchant, his recklessness as a land speculator, and his unrestrained passion in building his palatial, doomed mansion, once hailed as the most expensive private building in the United States but later known as "Morris's Folly." Setting Morris's tale in the context of the nation's founding, this volume refocuses attention on an essential yet nearly forgotten American figure while also illuminating the origins of America's ongoing, ambivalent attitudes toward the superwealthy and their sensational excesses.

Founding Fathers of the United States --- Finance, Personal. --- Homes and haunts --- Morris, Robert,

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Verborgen präsent ist ein Künstler dann, wenn er seinen Körper vollständig verhüllt, vergräbt, einmauert, einwickelt oder auf andere Weise unsichtbar inszeniert. Er schafft einen Innenraum, mit dem er das Abgetrenntsein von der Außenwelt markiert, zugleich aber direkten Kontakt hält, um alternative Interaktionsmöglichkeiten zu erforschen. Sebastian Neußer zeigt, dass diese Inszenierungen im Verborgenen, die von der Kunstwissenschaft bislang wenig beachtet wurden, im Schaffen von Salvador Dalí, Joseph Beuys, Robert Morris und Vito Acconci einen zentralen Stellenwert einnehmen.

Kunst; Körper; Inszenierung; Subjekt; Anthropologie; Kunstgeschichte des 20. Jahrhunderts; Kunstwissenschaft; Arts; Body; Art History of the 20th Century; Fine Arts --- Dalí, Salvador, --- Beuys, Joseph --- Morris, Robert, --- Acconci, Vito, --- Criticism and interpretation. --- Art History of the 20th Century. --- Body. --- Fine Arts.

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Lens-Based Sculpture shows the relation between sculpture and photography for the first time from the perspective of the history of sculpture.

The overview with 200 works, spanning the twentieth century and beyond, from more than 70 international artists shows how modern sculpture detached itself from the millennial principle of statuary sculpture and evolved into a new artistic praxis where the whole of reality with its diverse tactile, spatial, and media phenomena is sculptural material.

The photo camera serves as sculpture’s primary tool, as a sketchbook and facilitator for spatial and structural representation in mass and form.

Featuring the work of Umberto Boccioni, Marcel Duchamp, Tony Cragg, Valie Export, Rebecca Horn, Ron Mueck, Bruce Nauman, Giuseppe Penone, and Kiki Smith, among many others.

Sculpture --- sculpture [visual works] --- photography [process] --- Brancusi, Constantin --- Horn, Rebecca --- Baumgarten, Lothar --- Broodthaers, Marcel --- Cragg, Tony --- Dibbets, Jan --- Barba, Rosa --- Lang, Nikolaus --- Oppenheim, Dennis --- Cocteau, Jean --- Blume, Bernhard --- Bellmer, Hans --- Blume, Anna --- Kummer, Raimund --- Ono, Yoko --- Simonds, Charles --- Duchamp, Marcel --- Ahearn, John --- Brandmeier, Monika --- Segal, George --- Morris, Robert --- Smithson, Robert --- Lincoln, Paul Etienne --- Beuys, Joseph --- Pippin, Steven --- Rahmann, Fritz --- Sauer, Michel --- Stadtbäumer, Pia --- Moholy-Nagy, László --- Penone, Giuseppe --- Demenÿ, Georges --- Seifried, Volker --- Serra, Richard --- Boccioni, Umberto --- Rodin, Auguste --- Hatoum, Mona --- Export, Valie --- Jonas, Joan --- Ruthenbeck, Reiner --- Kusama, Yayoi --- Hanson, Duane --- Klingelhöller, Harold --- Anselmo, Giovanni --- Duchamp-Villon, Raymond --- Chamberlain, John --- Gilbert and George --- Hirschhorn, Thomas --- Honert, Martin --- Nauman, Bruce --- Noland, Cady --- Signer, Roman --- Smith, Kiki --- Alÿs, Francis --- Mueck, Ron --- Appelt, Dieter --- Brus, Johannes --- Burden, Chris --- Ecker, Bogomir --- Kuppel, Edmund --- Mendieta, Ana --- Sander, Karin --- Whiteread, Rachel --- McLean, Bruce --- Marey, Étienne-Jules --- Huber, Stephan --- Bragaglia, Anton Giulio --- Deacon, Richard --- Matta-Clark, Gordon --- Kaprow, Allan --- Asher, Michael --- kunst --- beeldhouwkunst --- negentiende eeuw --- twintigste eeuw --- eenentwintigste eeuw --- fotografie --- kunst en fotografie --- beeldhouwkunst en fotografie --- Ahearn John H --- Alÿs Francis --- Anselmo Giovanni --- Appelt Dieter --- Asher Michael --- Barba Rosa --- Baumgarten Lothar --- Bellmer Hans --- Beuys Joseph --- Blume Anna --- Blume Bernhard --- Boccioni Umberto --- Bragaglia Anton Giulio --- Brancusi Constantin --- Brandmeier Monika --- Broodthaers Marcel --- Brus Johannes --- Burden Chris --- Chamberlain John --- Cocteau Jean --- Cragg Tony --- Deacon Richard --- Demenÿ Georges --- Dibbets Jan --- Duchamp Marcel --- Duchamp-Villon Raymond --- Ecker Bogomir --- Export Valie --- VALIE EXPORT --- Gilbert & George --- Givaudan Claudius --- Gross Sabine --- Hanson Duane --- Hatoum Mona --- Hirschhorn Thomas --- Honert Martin --- Horn Rebecca --- Huber Stephan --- Jonas Joan --- Kaprow Allan --- Klingelhöller Harald --- Kummer Raimund --- Kuppel Edmund --- Kusama Yayoi --- Lang Nikolaus --- Lincoln Paul Etienne --- Marey Etienne-Jules --- Matta-Clark Gordon --- McLean Bruce --- Mendieta Ana --- Moholy-Nagy Laszlo --- Morris Robert --- Mueck Ron --- Nauman Bruce --- Noland Cady --- Ono Yoko --- Oppenheim Dennis --- Penone Giuseppe --- Pippin Steven --- Pitz Hermann --- Rahmann Fritz --- Rodin Auguste --- Ruthenbeck Reiner --- Sander Karin --- Sauer Michel --- Segal George --- Seifried Volker --- Serra Richard --- Signer Roman --- Signoretto Pino --- Simonds Charles --- Smith Kiki --- Smithson Robert --- Stadtbäumer Pia --- Whiteread Rachel --- 73.03 --- 77.03 --- 77.036 --- 73.036 --- Exhibitions