thu 09/02/2023

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

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

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Renzo Piano, Royal Academy review - worth the effort

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

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

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

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Shape of Light, Tate Modern review - a wasted opportunity

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

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

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

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Joan Jonas, Tate Modern review - work as elusive as it is beautiful

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Tacita Dean: Portrait, National Portrait Gallery / Still Life, National Gallery review - film as a fine art

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Another Kind of Life, Barbican review - intense encounters with marginal lives

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Mark Dion: Theatre of the Natural World, Whitechapel Gallery review - handsome installations

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Come to Dust: Glenn Brown, Gagosian Gallery review - seductive and disturbing

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Human Flow review - two hours of human misery

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Imagine... Rachel Whiteread: Ghosts in the Room, BBC Two review - making memories solid

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latest in today

The Brian Jonestown Massacre, Barrowland Ballroom, Glasgow r...

The Brian Jonestown Massacre has been described as many things over the years, but lazy cannot be one. Whilst...

Catherine Cohen, Brighton Komedia review - songs and New Yor...

Catherine Cohen made quite an impact at the 2019 Edinburgh Fringe, where she won best newcomer in the Edinburgh Comedy Awards for The Twist?...

Les Rencontres de Bamoko, Mali review - imagining another fu...

During morning and evening rush hour, Bamako seizes up under the pressure of all the cars, motorbikes, trucks and buses, bringing the three...

Album: You Me At Six - Truth Decay

It would seem that we’ve been overdue a dose of that awkward teens years nostalgia as all three of Fall Out Boy, Paramore, and their UK Emo/Pop-...

Dmitri Alexeev, Leighton House review - shadows and light fr...

You can brush aside any problems septuagenarian pianists may have in the toughest repertoire, especially if they give you more than glimpses of...

Linck & Mülhahn, Hampstead Theatre review - problems as...

With the total loss of its Arts Council funding,...

Town of Strangers review - a whimsical foray into the meanin...

“They say there are only two stories,” explains ...

Album: Amber Arcades - Barefoot On Diamond Road

In this context, what’s named “diamond road” is a metaphor for staying on course rather than, as the lyrics of the song “Diamond Road” put it,...

Eliza Carthy and The Restitution, Barbican review - folk at...

Eliza Carthy has been busy, as she always has. Recording various albums with various artists during the pandemic, her show with her band, The...

Fabienne Verdier, The Song of the Stars (Le chant des étoile...

I have wanted to visit the Musée Unterlinden in Colmar for many years: the home of Matthias Grünewald’s masterpiece, the Isenheim Altarpiece (1512...