thu 21/10/2021

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

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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Isamu Noguchi, Barbican review – the most elegant exhibition in town

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Gerhard Richter: Drawings, Hayward Gallery review - exquisite ruminations

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Mixing it Up, Hayward Gallery review - a glorious celebration of diversity

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The Story of Looking review – bedside musings on how and what we see

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The Lost Leonardo review - an incredible tale as gripping as any thriller

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Sophie Taeuber-Arp, Tate Modern review - a creative talent that knew no bounds

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El Father Plays Himself review – a roller coaster ride of mixed emotions

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The Most Beautiful Boy in the World review - a harrowing tale vividly told

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Afterness, Orford Ness review - a breath of fresh air, literally

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Bank Job review - an inspirational look at finance

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Matthew Barney: Redoubt, Hayward Gallery review - the wild west revisited

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David Hockney / Michael Armitage, Royal Academy review - painting with an iPad vs brushes and paint

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Eileen Agar, Whitechapel Gallery review - a free spirit to the end

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The Human Voice review - an intense half-hour that pulls no punches

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latest in today

Album: Elton John, The Lockdown Sessions - review

I always thought those celebrity duets albums, recorded across the miles – or sometimes with someone who had long since passed to the great arena...

Grenfell: Value Engineering, The Tabernacle review - bruisin...

Grenfell: Value Engineering isn’t actually a play. It’s an edited version of the testimony heard by the Grenfell Tower Inquiry,...

L'Heure Exquise, Linbury Theatre review - an exquisite...

Ballet dancers, even the greatest, don’t expect longevity. There are no Maggie Smiths or Helen Mirrens in the ballet world – there just aren’t the...

Dune review - awesome display of sci-fi world-building

I’d venture that Denis Villeneuve’s adaptation of Frank Herbert’s 1965...

Colin Currie Group, RFH review - Reich premiere explores fre...

Single-composer programmes can be a bit dicey and there was a bit of trepidation approaching this one as Steve Reich is not a composer of massive...

Dave Chappelle: The Closer, Netflix review - race and class...

Say what you like about Dave Chappelle, but if nothing else he's an equal-opportunities offender, as his latest Netflix special, The Closer...

Rufus Wainwright, London Palladium review - superb musicians...

Rufus Wainwright believes opera to be “the greatest art form that has...

Die ägyptische Helena, Fulham Opera review - mythological me...

So Helen of Troy arrives at a church in Fulham via Poseidon’s island palace and a pavilion at the foot of the Atlas Mountains. She’s trickier than...

Love and Other Acts of Violence, Donmar Warehouse review - s...

This is simultaneously a love story and an archaeology of hate, a...

Rice, Orange Tree Theatre review - whip-smart, but unsure wh...

“Careful, there’s a hole in the floor.” The warning’s an unusual one, passed along conscientiously by the stewards at the door of the tiny...