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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

Edwin Landseer / Rachel Maclean, National Gallery review - a juxtaposition of opposites

Tuesday, 04 December 2018 Read more...

Lost Treasures of Strawberry Hill review - a brave attempt to recreate an important collection

Saturday, 27 October 2018 Read more...

Modern Couples, Barbican review - an absurdly ambitious survey of artist lovers

Saturday, 13 October 2018 Read more...

Elmgreen & Dragset, Whitechapel Gallery review – when is a door not a door ?

Saturday, 06 October 2018 Read more...

Kusama - Infinity review - amazing tale of survival against the odds

Thursday, 04 October 2018 Read more...

The Everyday and the Extraordinary, Towner Art Gallery, Eastbourne review - the ordinary made strange

Thursday, 04 October 2018 Read more...

Space Shifters, Hayward Gallery review - seeing is not always believing

Friday, 28 September 2018 Read more...

Turner Prize 2018, Tate Britain review - a shortlist dominated by political issues

Tuesday, 25 September 2018 Read more...

Renzo Piano, Royal Academy review - worth the effort

Friday, 14 September 2018 Read more...

Under the Wire review - risking everything to tell the world the truth

Wednesday, 05 September 2018 Read more...

The New Royal Academy and Tacita Dean, Landscape review - a brave beginning to a new era

Friday, 18 May 2018 Read more...

Formosa, Cloud Gate Dance Theatre of Taiwan, Sadler’s Wells review - perfect in every detail

Friday, 11 May 2018 Read more...

Shape of Light, Tate Modern review - a wasted opportunity

Thursday, 03 May 2018 Read more...

Leaving Home, Coming Home: A Portrait of Robert Frank review - the artist puts himself in the frame

Monday, 30 April 2018 Read more...

Taryn Simon: An Occupation of Loss, Islington Green review - divine lamentation

Tuesday, 24 April 2018 Read more...

Sutra, Sadler’s Wells review – a masterpiece 10 years on

Wednesday, 28 March 2018 Read more...

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Kiefer / Van Gogh, Royal Academy review - a pairing of oppos...

When he was a callow youth of 18, German artist Anselm Keifer got a travel grant to follow in the footsteps of his idol, Vincent van Gogh. Some...

Siglo de Oro, Wigmore Hall review - electronic Lamentations...

Siglo de Oro are a vocal ensemble who specialise in older music – and especially neglected older music – but they have also...

Album: Barry Can't Swim - Loner

Despite being Mercury nominated, Bazza’s hardly a household name. Nevertheless, his debut album ...

Jenny Saville: The Anatomy of Painting, National Portrait Ga...

When in the 1990s, Jenny Saville’s peers shunned painting in...

Hot Milk review - a mother of a problem

Rebecca Lenkiewicz’s Hot Milk, adapted from Deborah Levy’s 2016 Man Booker shortlistee, has been described as a "psychological drama"....

Glastonbury Festival 2025: Five Somerset summer days of musi...

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“I think you’d better drive,” says Finetime, his face sallow, skull-sockets underscored by...

Tom Raworth: Cancer review - truthfulness

I recently heard a BBC Radio 4 presenter use the troubling phrase: "Not everyone agreed on the reality of that." Once the domain of Andre Breton’s...

Hill, Sky Documentaries review - how Damon Hill battled his...

Some world champion racing drivers make it look effortless, but it was never that way for Damon Hill. His path to the championship he won in 1996...