mon 17/02/2025

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

Best of 2024: Visual Arts

Read more...

Nocturnes review - the sounds of the rainforest transport you a remote region of the Himalayas

Read more...

Electric Dreams: Art and Technology Before the Internet, Tate Modern review - an exhaustive and exhausting show

Read more...

Snow Leopard review - clunky visual effects mar a director's swansong

Read more...

ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetime

Read more...

Vanessa Bell, MK Gallery review - diving into and out of abstraction

Read more...

The Last of the Sea Women review - a moving tale of feisty traditional divers

Read more...

Lygia Clark: The I and the You, Sonia Boyce: An Awkward Relation, Whitechapel Gallery review - breaking boundaries

Read more...

Mike Kelley: Ghost and Spirit, Tate Modern review - adolescent angst indefinitely extended

Read more...

Monet and London, Courtauld Gallery review - utterly sublime smog

Read more...

Michael Craig-Martin, Royal Academy review - from clever conceptual art to digital decor

Read more...

Van Gogh: Poets & Lovers, National Gallery review - passions translated into paint

Read more...

Peter Kennard: Archive of Dissent, Whitechapel Gallery review - photomontages sizzling with rage

Read more...

Dominique White: Deadweight, Whitechapel Gallery review - sculptures that seem freighted with history

Read more...

The Echo review - a beautiful but confusing look at life in a Mexican village

Read more...

Heart of an Oak review - an adventure film starring a tree and its inhabitants

Read more...

Pages

latest in today

Help to give theartsdesk a future!

It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.

It followed some...

Josienne Clarke, Across the Evening Sky, Kings Place review...

On the first date of a 17-concert tour that had its preview at Celtic Connections in January, Across the Evening Sky begins with the...

Shon Faye: Love in Exile review - the greatest feeling

As Valentine’s Day crests around us, and lonely hearts come out of their winter hibernation, what better time to publish writer and journalist...

Mary, Queen of Scots, English National Opera review - heroic...

Genius doesn't always tally with equal opportunities, to paraphrase Doris Lessing. Opera houses have a duty to put on new works by women composers...

Unicorn, Garrick Theatre review - wordy and emotionless desi...

Since when has new writing become so passionless? Mike Bartlett is one of the country’s premiere playwrights and his new play, Unicorn,...

Vollmond, Tanztheater Wuppertal Pina Bausch + Terrain Boris...

Imagine: you take your seat at the best restaurant in town, the waiter arrives with a flourish to fill your water glass, you hold it out and he...

Patrick Duff, The Mount Without, Bristol review - sacred mus...

There is an atmosphere of otherworldly stillness within the stony womb of a large dilapidated church in...

Album: Tim Hecker - Shards

The question of personality in abstract and ambient music has always been a fascinating one. Without conventional signifiers of expressiveness,...

Music Reissues Weekly: Sharks - Car Crash Supergroup

Sharks were formed in 1972 by bassist Andy Fraser after he left Free. There were two albums, line-up changes and ripples which resonated after the...

Fat Dog, Chalk, Brighton review - a frenetic techno-rock jug...

Ro first saw Fat Dog, before anyone had heard of them, at the Windmill in Brixton in front of a crowd of about 25 people. Their manic energy blew...