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A cacophony of signs haunts the surface.
“It’s instinctual” artist Kate Liebman intones blithely, with a seemingly of handed twirl of her wrist, gesturing towards a tableau in her Brooklyn studio; When it was our generation’s turn to be alive (2025) portrays large, muscular overlapping circling forms, suggestive of at once the plenitude of infnity and the void of zero, against a tangled background of red and burgundy organic forms: a painterly hollow of ghostly tree branches and vines overgrowing the contained feld. Immured between layers of white, an image of Bruegel’s masted ship from his masterpiece The Fall of Icarus foats as a memento mori on an ethereal sea, not a bulwark against hubris, but a reminder we will all fall to the earth, unnoticed. On the far left of the canvas, integers, in their rational objectivity, march up the wall like a lie of the mind,…
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Press Release
A cacophony of signs haunts the surface.
“It’s instinctual” artist Kate Liebman intones blithely, with a seemingly of handed twirl of her wrist, gesturing towards a tableau in her Brooklyn studio; When it was our generation’s turn to be alive (2025) portrays large, muscular overlapping circling forms, suggestive of at once the plenitude of infnity and the void of zero, against a tangled background of red and burgundy organic forms: a painterly hollow of ghostly tree branches and vines overgrowing the contained feld. Immured between layers of white, an image of Bruegel’s masted ship from his masterpiece The Fall of Icarus foats as a memento mori on an ethereal sea, not a bulwark against hubris, but a reminder we will all fall to the earth, unnoticed. On the far left of the canvas, integers, in their rational objectivity, march up the wall like a lie of the mind,…
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