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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

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

Friday, 19 July 2019 Read more...

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

Saturday, 13 July 2019 Read more...

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

Saturday, 29 June 2019 Read more...

Kiss My Genders, Hayward Gallery review – a shambles

Thursday, 13 June 2019 Read more...

Eating Animals review - a compelling tale of imminent disaster

Saturday, 08 June 2019 Read more...

Natalia Goncharova, Tate Modern review - a prodigious talent

Wednesday, 05 June 2019 Read more...

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

Monday, 03 June 2019 Read more...

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

Thursday, 21 March 2019 Read more...

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

Monday, 18 March 2019 Read more...

Dorothea Tanning, Tate Modern review – an absolute revelation

Saturday, 09 March 2019 Read more...

Ray & Liz review - beautifully shot portrait of poverty

Wednesday, 06 March 2019 Read more...

Franz West, Tate Modern review - absurdly exhilarating

Thursday, 28 February 2019 Read more...

Bon Voyage, Bob, Tanztheater Wuppertal Pina Bausch, Sadler's Wells review - interminable ennui

Tuesday, 26 February 2019 Read more...

Phyllida Barlow: Cul-de-sac, Royal Academy review - unadulterated delight

Saturday, 23 February 2019 Read more...

Don McCullin, Tate Britain review - beastliness made beautiful

Monday, 11 February 2019 Read more...

América review - a joyous portrait of young men caring for their aged grandmother

Friday, 08 February 2019 Read more...

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'We are bowled over!' Thank you for your messages... ...
Coldwater, ITV1 review - horror and black comedy in the High...

Scripted by Belfast-born playwright David Ireland...

Mark Hussey: Mrs Dalloway - Biography of a Novel review - ec...

Writing in her diary just over 100 years ago on 19th June 1923, Virginia Woolf wrote: “In this...

Jansen, LSO, Pappano, Barbican review - profound and bracing...

Antonio Pappano and the London Symphony Orchestra last seared us in Britten’s amazing Violin Concerto, with Vilde Frang as soloist, on the very...

Jakub Hrůša and Friends in Concert, Royal Opera review - fle...

Between bouts of that far from shabby, still shocking masterpiece Tosca, Royal Opera music director Jakub Hrůša ...

The Weir, Harold Pinter Theatre review - evasive fantasy, bl...

Why are the Irish such good storytellers? The historical perspective is that the oral tradition goes way, way back, allied to the gift of the gab...

Hadelich, BBC Philharmonic, Storgårds, Bridgewater Hall, Man...

Concerts need to have themes, it seems, today, and the BBC Philharmonic’s publicity suggested two contrasting ideas for the opening of its 2025-26...

Album: Mulatu Astatke - Mulatu Plays Mulatu

The tour by the 81-year-old Mulatu Astatke which is currently under way and this album seem to be giving off different...

Music Reissues Weekly: Sly and the Family Stone - The First...

The remarkable The First Family: Live At Winchester Cathedral 1967 represents the first-ever release of a previously...

Monteverdi Choir, ORR, Heras-Casado, St Martin-in-the-Fields...

35 years ago, persona-now-non-grata John Eliot Gardiner revealed how performances of Mozart’s Idomeneo and La Clemenza di Tito...