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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

Masculinities: Liberation through Photography, Barbican review – a must-see exhibition

Monday, 24 February 2020 Read more...

Steve McQueen, Tate Modern review – films that stick in the mind

Friday, 14 February 2020 Read more...

Radical Figures: Painting in the New Millennium, Whitechapel review - ten distinctive voices

Tuesday, 11 February 2020 Read more...

Darren Waterston: Filthy Lucre, V&A review - a timely look at the value of art

Saturday, 08 February 2020 Read more...

Imran Perretta, Chisenhale Gallery review - a deeply affecting film

Tuesday, 04 February 2020 Read more...

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

Saturday, 23 November 2019 Read more...

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

Sunday, 27 October 2019 Read more...

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

Monday, 21 October 2019 Read more...

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

Sunday, 13 October 2019 Read more...

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

Thursday, 10 October 2019 Read more...

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

Tuesday, 08 October 2019 Read more...

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

Thursday, 03 October 2019 Read more...

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...

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'We are bowled over!' Thank you for your messages... ...
The Midnight Bell, Sadler's Wells review - a first repr...

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

Album: HAIM - I Quit

Haim’s profile just grows and grows. Since their last album, youngest sibling Alana’s starring role in Paul Thomas Anderson’s whimsical Seventies...

Aldeburgh Festival, Weekend 1 review - dance to the music of...

This year’s Aldeburgh Festival – the 76th – takes as its motto a line from Shelley‘s Prometheus Unbound. The poet speaks of despair “...

Bonnie Raitt, Brighton Dome review - a top night with a char...

If you walked into a bar in the US, say in one of the southern states, and Bonnie Raitt and her band were playing, you’d have the best night of...

Hidden Door Festival 2025 review - the transformative Edinbu...

"When I was your age, I worked in a corrugated cardboard factory!" is a phrase my father was fond of telling me as a teenager, presumably in an...

Edward Burra, Tate Britain review - watercolour made mainstr...

It’s unusual to leave an exhibition liking an artist’s work less than when you went in, but...

Joyceana around Bloomsday, Dublin review - flawless adaptati...

It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...

Stereophonic, Duke of York's Theatre review - rich slic...

The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...

Ithell Colquhoun, Tate Britain review - revelations of a wei...

Tate Britain is currently offering two exhibitions...