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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

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...

Phyllida Barlow: Cul-de-sac, Royal Academy review - unadulterated delight

Saturday, 23 February 2019 Read more...

Don McCullin, Tate Britain review - beastliness made beautiful

Monday, 11 February 2019 Read more...

América review - a joyous portrait of young men caring for their aged grandmother

Friday, 08 February 2019 Read more...

Bill Viola/Michelangelo: Life Death Rebirth, Royal Academy review - empty rhetoric versus focused intensity

Friday, 25 January 2019 Read more...

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

Tuesday, 04 December 2018 Read more...

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Classical CDs: Bells, birdsong and braggadocio

 

Thomas Adès, Oliver Leith, William Marsey:...

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...

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...

MONDAY 30th JUNE 2025

“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...

Album: Kesha - .

“I’m, like, pop star when I have to pop star, and then I’m...

The Shrouds review - he wouldn't let it lie

“Dying is an act of eroticism,” suggested one of the many disposable characters in David Cronenberg’s first full-length feature, Shivers...