sat 20/04/2024

Sarah Kent

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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

Eco-Visionaries, Royal Academy review - wakey, wakey!

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Lucian Freud: The Self-Portraits, Royal Academy review - mesmerising intensity

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Pre-Raphaelite Sisters, National Portrait Gallery review – a fascinating glimpse behind the scenes

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Great Women Artists review - the book we have been waiting for

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Anna Maria Maiolino: Making Love Revolutionary, Whitechapel Gallery review – a gentle rebellion

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Into the Night: Cabarets and Clubs in Modern Art, Barbican review - great theme, disappointing show

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Kara Walker: Fons Americanus, Tate Modern review – a darkly humorous gift

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Beuys' Acorns, Bloomberg Arcade London review – not much to look at, but important all the same

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Olafur Eliasson: In Real Life, Tate Modern review – beautiful ideas badly installed

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Félix Vallotton: Painter of Disquiet, Royal Academy review – strange and intriguing

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Kiss My Genders, Hayward Gallery review – a shambles

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Eating Animals review - a compelling tale of imminent disaster

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Natalia Goncharova, Tate Modern review - a prodigious talent

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Lee Krasner: Living Colour, Barbican review - jaw-droppingly good

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Mike Nelson, The Asset Strippers, Tate Britain review – exhilarating reminder of industrial might

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The Thread, Russell Maliphant & Vangelis, Sadler’s Wells review – an inspiring marriage of old and new

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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...