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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

Hylozoic/Desires: Salt Cosmologies, Somerset House and The Hedge of Halomancy, Tate Britain review - the power of white powder

Monday, 03 March 2025 Read more...

Mickalene Thomas, All About Love, Hayward Gallery review - all that glitters

Wednesday, 26 February 2025 Read more...

Donald Rodney: Visceral Canker, Whitechapel Gallery review - absence made powerfully present

Saturday, 22 February 2025 Read more...

Noah Davis, Barbican review - the ordinary made strangely compelling

Thursday, 20 February 2025 Read more...

Best of 2024: Visual Arts

Monday, 30 December 2024 Read more...

Nocturnes review - the sounds of the rainforest transport you a remote region of the Himalayas

Monday, 09 December 2024 Read more...

Electric Dreams: Art and Technology Before the Internet, Tate Modern review - an exhaustive and exhausting show

Monday, 02 December 2024 Read more...

Snow Leopard review - clunky visual effects mar a director's swansong

Saturday, 23 November 2024 Read more...

ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetime

Saturday, 16 November 2024 Read more...

Vanessa Bell, MK Gallery review - diving into and out of abstraction

Tuesday, 22 October 2024 Read more...

The Last of the Sea Women review - a moving tale of feisty traditional divers

Saturday, 12 October 2024 Read more...

Lygia Clark: The I and the You, Sonia Boyce: An Awkward Relation, Whitechapel Gallery review - breaking boundaries

Thursday, 10 October 2024 Read more...

Mike Kelley: Ghost and Spirit, Tate Modern review - adolescent angst indefinitely extended

Wednesday, 09 October 2024 Read more...

Monet and London, Courtauld Gallery review - utterly sublime smog

Friday, 04 October 2024 Read more...

Michael Craig-Martin, Royal Academy review - from clever conceptual art to digital decor

Wednesday, 25 September 2024 Read more...

Van Gogh: Poets & Lovers, National Gallery review - passions translated into paint

Saturday, 14 September 2024 Read more...

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'We are bowled over!' Thank you for your messages... ...
The Diplomat, Season 3, Netflix review - Ambassador Kate Wyl...

The return of this entertaining political drama is always welcome, though its soap-tinged mix of transatlantic politics and volatile personal...

Gilbert & George, 21st Century Pictures, Hayward Gallery...

There was a time when Gilbert & George made provocative pictures that probed the body politic for sore points that others preferred to ignore...

From Historical to Hip-Hop, Classically Black Music Festival...

To hear Kadiatu Kanneh-Mason speaking live is to hear a woman...

The Perfect Neighbor, Netflix review - Florida found-footage...

Another day, another shooting: this is Florida, USA, where the "Stand Your...

Bryony Kimmings, Soho Theatre Walthamstow review - captivati...

Bryony Kimmings’ new show – her first in five years – was created to celebrate the opening of Soho Walthamstow, the previously...

Blu-ray: Le Quai des Brumes

From its opening scene, Le Quai des Brumes (Port of Shadows,1938) feels like a reverie, a period of sustained waiting, during...

La bohème, Opera North review - still young at 32

Phyllida Lloyd’s production of La Bohème for Opera North is...

Shibe, LSO, Adès, Barbican review - gaudy and glorious new m...

Many orchestral concerts leaven two or three established classics with something new or unusual. The LSO reversed that formula...

Frankenstein review - the Prometheus of the charnel house

Guillermo del Toro strains every sinew to bring his dream film to life, steeping it in religious symbolism and the history of art, cannily...