KOLLER VIEW 2/24

pre view. 02 19 4 Totally black Early in her career, Louise Nevelson worked as Diego Rivera ' s assistant in New York. In the 1960s, she took part in the Venice Biennale and the documenta in Kas- sel with her own works. Nevelson mainly worked with discarded pieces of wood found on the streets of New York, and usually painted her monochrome sculptures black – for her, the ‘total colour’ that contains everything. Nevelson created a significant oeuvre in a field dominat- ed by men, and is one of the outstanding female artists of the 20 th century. Louise Nevelson (1899–1988). Sky Gate VII. 1973. Painted wood. 50.7 × 48.2 × 5 cm. Estimate: CHF 20 000/30 000 © Estate of Louise Nevelson/ 2024, ProLitteris, Zurich 5 Large-format etching Since the early 1970s, the recently deceased Rich- ard Serra explored the almost unlimited possibilities of printmaking. Alongside his immense world-famous steel sculptures, monochrome prints form the core of his oeuvre. The monumental sheet format chosen by Serra is unusual for creating etchings. ‘I am interested in the mechanisation of the graphic process, but not in playing with colour illusions’. Richard Serra (1939–2024). T.E. Siegen. 1999. Etching. 29/40. Sheet size 151.1 × 121 cm. Estimate: CHF 18 000/28 000 © 2024, ProLitteris, Zurich 6 Departure into the spatial Sylvie Fleury ' s artistic practice combines sculpture and installation, performance and painting. The form and colour study ‘Color Lab – Study with dots’, which fills more than four square metres, as well as her ‘Go Bust’ series of paintings from the same creative phase around 2012/13, give the viewer the illusion of a leap from the two-dimensional picture plane into three-dimensional space. Associations with similar works quickly come to mind, such as those by Victor Vasarely, whose works are featured in the same auction. Sylvie Fleury (1961). Color Lab - Study with dots. 2012. Acrylic on canvas. 166 × 267.5 cm. Estimate: CHF 25 000/35 000 4 5 6