wed 22/03/2023

Sarah Kent

Sarah Kent's picture
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

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

Read more...

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

Read more...

Human Flow review - two hours of human misery

Read more...

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

Read more...

Rose Wylie: Quack Quack, Serpentine Gallery - anarchy at 83

Read more...

The Machines of Steven Pippin, The Edge, University of Bath review - technology as poetry

Read more...

Red Star Over Russia, Tate Modern review – fascinating history in a nutshell

Read more...

Ilya and Emilia Kabakov, Tate Modern review – funny, moving and revelatory

Read more...

Basquiat: Boom for Real, Barbican review - the myth explored

Read more...

Rachel Whiteread, Tate Britain review – exceptional beauty

Read more...

Final Portrait review - utterly convincing portrayal of an artist at work

Read more...

Trajal Harrell: Hoochie Koochie, Barbican review - flamboyant and mesmerising

Read more...

Rose Finn-Kelcey: Life, Belief and Beyond, Modern Art Oxford review - revelation and delight

Read more...

Portraying a Nation, Tate Liverpool review – an inspired juxtaposition

Read more...

The Seasons in Quincy: Four Portraits of John Berger review - voyages round a giant

Read more...

Fahrelnissa Zeid, Tate Modern review - rediscovering a forgotten genius

Read more...

Pages

latest in today

The Chevalier, St Martin-in-the-Fields review - virtuoso jou...

Shimmeringly urbane, shifting effortlessly from intricate agility to muscular intensity, the music of the 18th century composer Joseph Bologne is...

First Person: Anna Clyne on composing collaborations, not ba...

Collaboration fuels a lot of my music – I love the interaction that takes me outside of my natural tendencies – it’s a source of...

Robert Forster, Lafayette review - élan, spontaneity and tho...

“Learn to Burn” generates the loudest and most sustained applause. As it was originally the opening track of Robert Forster’s 2015 album Songs...

Album: Black Honey - A Fistful of Peaches

There’s a disconnect on the third album by Brighton rockers Black Honey. The music is rousing post-grunge indie...

Turandot, Royal Opera review - spectacle and sound wow in th...

Nearly 40 years old, Andrei Serban’s Royal Opera Turandot feels like a gilded relic (I felt like a relic myself on learning that my...

Osborne, RSNO, Chan, Usher Hall, Edinburgh - cinematic sweep...

Two women featured prominently in this programme; the one a composer and the other a conductor.

To the composer first. Long before she hit...

The Beasts review - a countryside idyll loses its charm

The Beasts (As Bestas) is all of two hours and 17 minutes long, and yet to look away is never an option. ...

DVD/Blu-ray: Living

Mr Williams (a wonderfully restrained, Oscar-nominated Bill Nighy) is taking time off work from his job in the Public Works department at County...

Dance of Death, National Theatre of Norway, Coronet Theatre...

You don’t have to be Scandinavian to act out Strindberg’s fantastical extremes at the highest level, but I’ve not seen any British performers come...

Allelujah review - Alan Bennett put through the blender

I'm proffering just a tad less than three cheers for Allelujah, the film version of...