YARES ART is pleased to present Fields of Color V on view in our New York gallery from September 2025 to January 2026. Fields of Color V materializes the personal and professional relationships between the principal artists of the Color Field and Abstract Expressionist movements. The twenty-eight monumental scale works on view demonstrate the revolutionary techniques employed by these artists, often learned or influenced from one another, that went on to permanently alter the trajectory and status of American art in the canon of art history. 

FIELDS OF COLOR V opens with Hans Hofmann’s Rising Moon (1965) hung next to Helen Frankanthaler’s Acres (1959). Hofmann, a career educator, served as a teacher to Frankenthaler in addition to artists such as Lee Krasner, Joan Mitchell, and Frank Stella who were enrolled at various points in one of Hofmann’s two schools. In his own work Hofmann began delving deeply into the fundamental principles of painting, centering on the optical effects of color, the illusion of space, and composition. These meditations and teachings of Hofmann are easy to find transferred into Frankenthaler’s practice. Though considered an heir to Abstract Expressionism, Frankenthaler departed radically from its emphasis on painterliness when she created her stain technique, which gave oil paint many of the textural qualities of watercolor. Pouring and staining techniques went on to inspire the next generation of artists, including Morris Louis and Kenneth Noland, who together visited her studio in 1953. They, among several other artists, went on to become pioneers of the Color Field movement. Louis’ large “Unfurled” painting Beta Theta (1961) and Kenneth Noland’s shaped canvas diamond Slope Shadow (1966) adorn neighboring walls to Acres. The community between these artists is further cemented by the presence of statues by David Smith, Voltron XXIV (1963), and Anthony Caro, Roll Back (1972). Both artists visited Frankenthaler's studio throughout their careers and developed close friendships with one another, bonding over approaches to object making. 

EXHIBIT HIGHLIGHTS include Larry Poons’ rarely seen early painting Slocum (1967), a sumptuous mural-sized “Lozenge” painting. Approaching the painting, one feels as if they are diving into a pool of color as the rich burnt orange suffuses the eye. Lozenges fall down the canvas like raindrops establishing a composition which is stable and yet free from rigidity. Frank Stella’s Sacramento Mall Proposal #5 (1978) is a prime example of how Stella perfectly toed the line between existing modernist movements and an emerging push towards minimalism. Facing the canvas, the viewer is paralleled with concentric squares and bands of repeating color reaching upwards of eight feet. First Love - 9 (1972) by Jules Olitski demonstrates the core testaments of the Color Field movement. What appears at first to be a monochrome canvas reveals, upon study, subtle undulations and undertones of color beneath the white spray, and modest windows of blue, pink, and yellow peak out along the top and bottom registers. The result is that each register of color is autonomous and yet exists symbiotically with one another, not unlike the artists of this epoch.