mon 23/05/2022

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

Cornelia Parker, Tate Britain review – divine intelligence

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

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

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

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The Metamorphosis of Birds review - picture perfect

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

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

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

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

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

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

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

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Lubaina Himid, Tate Modern review – more explication please

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Waste Age, Design Museum review - too little too lame

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

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

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latest in today

Cornelia Parker, Tate Britain review – divine intelligence

Cornelia Parker’s early installations are as fresh and as thought provoking as when they were made. Her...

Alyn Shipton: On Jazz - A Personal Journey - digging jazz de...

“I suppose you’re going to ask all the usual questions...?” When Keith Jarrett was...

Lotus Beauty, Hampstead Theatre Downstairs review – uneasy m...

Theatre is slowly recovering from the effects of the pandemic, and many shows which were cancelled because of the first lockdown are now finally...

Album: Heidi Talbot - Sing it for a Lifetime

As break-up albums go, Heidi Talbot’s new set knocks that tightly wound ball of heartbreak, separation and release into the front...

The Wreckers, Glyndebourne review - no masterpiece, but vivi...

Interesting for the history of music, but not for music? Passing acquaintance with Ethel Smyth’s The Wreckers, a grand opera by a woman...

Music Reissues Weekly: Patty Waters - You Loved Me

“Touched by Rodin in a Paris Museum” is a 14-minute consideration of exactly what its title says: the impact of encountering Auguste Rodin’s work...

DVD/Blu-ray: Parallel Mothers

Parallel Mothers unfolds at a daringly slow pace, and there are moments in the first half of...

The Deathless Woman review - the overlooked persecution of t...

One of the more heartwarming images in the news recently has been seeing Ukrainian refugees being welcomed by their eastern European neighbours....

My Fair Lady, London Coliseum review - tasteful revival powe...

First staged in 2018, Bartlett Sher’s Lincoln Center Theater production of My Fair Lady is London’s latest import from...

Benediction review - the world's worst wounds

Terence Davies’s Benediction is a haunting but uneven biopic of the...