sat 20/04/2024

Sarah Kent

Sarah Kent's picture
Bio
Sarah was the visual arts editor art of Time Out, the ICA’s Director of Exhibitions, has served on Turner Prize and other juries, and has written catalogues for the Hayward, ICA, Saatchi Gallery, White Cube and Haunch of Venison and books such as Shark-Infested Waters: The Saatchi Collection of British Art in the 90s.

Articles By Sarah Kent

Cornelia Parker, Tate Britain review – divine intelligence

Read more...

Walter Sickert, Tate Britain review - all the world's a stage

Read more...

Ali Cherri: If you prick us, do we not bleed?, National Gallery review - cabinets of curiosity

Read more...

River review – gorgeous visuals and a timely message: so what’s not to like?

Read more...

The Metamorphosis of Birds review - picture perfect

Read more...

Surrealism Beyond Borders, Tate Modern review - a disappointing mish mash

Read more...

Postwar Modern: New Art in Britain 1945-65, Barbican review - revelations galore

Read more...

A Century of the Artist's Studio, Whitechapel Gallery review - a voyeur's delight

Read more...

Louise Bourgeois: The Woven Child, Hayward Gallery review - the wife, the mistress, the daughter and the art that came out of it

Read more...

America in Crisis, Saatchi Gallery review - a country in jeopardy

Read more...

Francis Bacon: Man and Beast, Royal Academy review – a life lived in extremis

Read more...

Kehinde Wiley, National Gallery review - more than meets the eye

Read more...

Lubaina Himid, Tate Modern review – more explication please

Read more...

Waste Age, Design Museum review - too little too lame

Read more...

Yoko Ono, Mend Piece, Whitechapel Gallery review – funny and sad in equal measure

Read more...

Theaster Gates - A Clay Sermon, Whitechapel Gallery review - mud, mud, glorious mud

Read more...

Pages

latest in today

London Tide, National Theatre review - haunting moody river...

“He do the police in different voices.” If ever one phrase summed up a work of fiction, and the art of its writer, then surely it is this...

Watts, BBC Symphony Orchestra and Chorus, Bignamini, Barbica...

Anyone who’d booked to hear soprano Sally Matthews or to witness the rapid progress of conductor Daniele Rustioni – the initial draw for me –...

The Songs of Joni Mitchell, Roundhouse review - fans (old an...

For most people’s 40th birthday celebrations, they might get a few...

Fantastic Machine review - photography's story from one...

The first photograph was taken nearly 200 years ago in France by Joseph Niépce, and the first picture of a person was taken in Paris by Louis...

Album: Taylor Swift - The Tortured Poets Department: The Ant...

Taylor Swift’s unfathomable ability to articulate human emotion shines as brightly as ever in her latest double album The Tortured Poets...

Jonathan Pie, Duke of York's Theatre review - spoof pol...

If you don't like sweary comics – Jonathan Pie uses the c-word liberally – then this may not be the show for you. In fact if you're a Tory, ditto...

Baby Reindeer, Netflix review - a misery memoir disturbingly...

Richard Gadd won an Edinburgh Comedy Award in 2016 with...

Machinal, The Old Vic review - note-perfect pity and terror

Virtuosity and a wildly beating heart are compatible in Richard Jones’s finely calibrated production of Renaissance woman Sophie Treadwell’s ...

Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester...

If ever more evidence were needed of Sir Mark Elder’s untiring zest for exploration and love of the thrill of live opera performance, it was this...

All You Need Is Death review - a future folk horror classic

Music, when the singer’s voice dies away, vibrates in the memory. In the hypnotic new Irish horror film All You Need Is Death, those who...