fri 31/10/2014

Sarah Kent

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

Russian Avant-Garde Theatre, Victoria & Albert Museum

Installed in the main exhibition space, this could have been a blockbuster show introducing a large audience to an important moment in Russian Theatre; but tucked away in the Department of...

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Andrew Logan’s Alternative Miss World, Globe Theatre

On Saturday at Shakespeare’s Globe, the Alternative Miss World was staged for the 13th time. Having launched this gloriously tacky event in his Hackney studio in 1972, artist Andrew Logan promises to...

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Steve McQueen: Ashes, Thomas Dane Gallery

Ashes is a two-part exhibition. The darkened gallery at 3 Duke Street, St James’s is filled with the onscreen image of a young black man sitting on the prow of a small boat with his back to us (main...

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Glenn Ligon: Call and Response, Camden Arts Centre

“I was a nigger for twenty-three years. I gave that shit up. No room for advancement.” This astute joke, by American comedian Richard Pryor, is stencilled in black capitals on the gold ground of a...

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Listening, BALTIC 39, Hayward Touring

Traditionally, art exhibitions have been about looking, but as more and more artists cross boundaries to engage with sound, touch and movement or to use film and video, work that is static and silent...

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Constructing Worlds, Barbican Art Gallery

“The minute I touched New York,” wrote Berenice Abbott, “I had a burning desire to photograph the city of incredible contrasts, the city of stone needles and skyscrapers, the city that is never the...

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Horst: Photographer of Style, Victoria & Albert Museum

If events in the Middle East, the prospect of the school run or the onset of autumn are conspiring to lower your spirits, then escape to the V&A and immerse yourself in the dreamy elegance of...

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First Person: Curating Shelagh Wakely

I’ve curated nearly 70 exhibitions in my time. The most challenging was Elizabeth Frink’s retrospective at the Royal Academy. Weighing in at several tons, the large bronzes are virtually impossible...

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Digital Revolution, The Curve, Barbican

Digital Revolution begins with an archive section taking you back to the 1970s when Ralph Baer developed a video game allowing punters to play ping pong on TV (below right: poster for the original...

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British Folk Art, Tate Britain

I agreed with some reluctance to review British Folk Art, since I anticipated an overdose of quaint charm, naive whimsy and endearing eccentricity. You know the kind of thing – fire screens...

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Valie Export and Friedl Kubelka, Richard Saltoun

The 1960s art scene in Vienna was dominated by Actionists such as Günther Brus, Otto Muehl and Herman Nitsch, who specialised in iconoclastic performances resembling pagan rituals. With women’s naked...

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Phyllida Barlow: Dock, Tate Britain

The revamping of Tate Britain has produced such an atmosphere of understated elegance that one hardly dares breathe for fear of displacing a particle of dust. An air of suffocating sterility has...

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Hito Steyerl, ICA

Hito Steyerl is a cool cookie. As well as studying film and television in Munich, she gained a PhD in philosophy from the Academy of Fine Arts in Vienna, and her intelligence shines through in every...

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Ruin Lust, Tate Britain

The first room of Ruin Lust is a knockout. Three large-scale pictures indicate the enduring fascination that ruins have held for artists over the centuries. John Martin’s apocalyptic view of Vesuvius...

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Nine Songs, Cloud Gate Dance Theatre of Taiwan, Sadler’s Wells

In 2008, a disastrous fire gutted Cloud Gate’s rehearsal studio in Taipei destroying props, costumes and the company archive. Amazingly though, the masks worn by the deities in Nine Songs survived...

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Boris Charmatz/Musée de la danse: Enfant, Sadler’s Wells

At first the machines are in control. A crane drags the inert body of a woman across the floor, lifts her up and leaves her dangling from the waist. A man follows, dragged by one foot and suspended...

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