sat 01/04/2023

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

Antidote review - two films in one that lose sight of their message

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After Impressionism: Inventing Modern Art, National Gallery review - an impressive tour de force

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The Ugly Duchess: Beauty and Satire in the Renaissance, National Gallery review - put in context, a much-loved picture reveals its complexity

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Mike Nelson: Extinction Beckons, Hayward Gallery review - spooky installations by a master of detail

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Peter Doig, Courtauld Gallery review - the good, the bad and the unfinished

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Action Gesture Paint, Whitechapel Gallery review - a revelation and an inspiration

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Town of Strangers review - a whimsical foray into the meaning of home

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Best of 2022: Visual Arts

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Magdalena Abakanowicz, Tate Modern review - a forest of huge and imposing presences

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Making Modernism, Royal Academy review - a welcome if confusing intro to seven lesser known artists

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William Kentridge, Royal Academy review - from art to theatre, and back again

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Lucian Freud: New Perspectives, National Gallery review - a powerful punch in the gut

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Remote review - an irredeemably silly first feature

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Hallyu! The Korean Wave, V&A review - frenetic but fun

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Marina Abramović: Gates and Portals, Modern Art Oxford and Pitt Rivers Museum review - transcendence lite

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Winslow Homer: Force of Nature, National Gallery review - dump the symbolism and enjoy the drama

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latest in today

Cinderella, Royal Ballet review - the first British ballet l...

The urge to redesign a heritage ballet is a curious one, given not just the expense but the fact that the main draw of an old ballet is the steps...

Williams, Dunedin Consort, Truscott, Wigmore Hall review - s...

When your special guest is a young soprano with all the world before her, the total artist already, your programme might seem to run itself. Yet...

Law of Tehran review - visceral Iranian police thriller

Here in Europe we mainly see subtle, lyrical Iranian films, targeted at international festivals or art house audiences, so it’s great to get the...

Drive Your Plow Over the Bones of the Dead, Complicité, Barb...

Complicité, the adventurous theatre company led today by Simon McBurney, one of its founders, is now 40. Over the last four decades, McBurney and...

God's Creatures review - Irish drama with a touch of Gr...

There’s something about the Irish coastal village that makes filmmakers see...

Album: boygenius - The Record

Maybe you’ve heard the Native American parable about the two...

Berlusconi, Southwark Playhouse Elephant review - curious ne...

One wonders if Ricky Simmonds and Simon Vaughan pondered long over their debut musical’s title. Silvio might...

Theodora, Arcangelo, Cohen, Barbican review - gloriously dar...

Handel’s Theodora – voluptuously beautiful, warm-to-the-touch music, yoked to a libretto of chilly piety about Christian martyrdom in 4...

Riotsville USA review - a training scheme with a tragic lega...

Sierra Pettengill has made the politest angry film I have seen. It has an incendiary quality that comes precisely from its calm stance towards its...

Album: The Zombies - Different Game

There’s something charmingly unassuming and humble about The Zombies. Nowadays their 1968 second album Odyssey and Oracle regularly...