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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

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...

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...

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Springsteen: Deliver Me From Nowhere review - the story of t...

There’s something about hauntingly performed songs written in the first person that can draw us in like nothing else. As songs from...

theartsdesk Q&A: Soft Cell

Seven years ago, Soft Cell were about to perform at a sold-out O2, a one-off event they entitled, after 16 years apart, One Night, One Final Time...

Little Brother, Soho Theatre review - light, bright but emot...

Niall is unwell. Very unwell. Very, very. There’s a lot going on in his head. He can’t really hold things together. Evidence? Well, he’s lost his...

Demi Lovato's ninth album, 'It's Not That Dee...

Demi Lovato is impressive on many fronts. She’s a Noughties Disney...

Kilsby, Parkes, Sinfonia of London, Wilson, Barbican review...

It was guaranteed: string masterpieces by Vaughan Williams, Britten and Elgar would be played and conducted at the very highest level by John...

The Maids, Donmar Warehouse review - vibrant cast lost in a...

Jean Genet’s 1947 play has been quite a clothes-horse over the years, at times a glamorous confection dressed by designers, and...

The Diplomat, Season 3, Netflix review - Ambassador Kate Wyl...

The return of this entertaining political drama is always...

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...