thu 30/05/2024

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

Carrie Mae Weems: Reflections for Now, Barbican review - going from strength to strength on an epic journey

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Dear Earth: Art and Hope in a Time of Crisis, Hayward Gallery review - hope is what we need, but inspiration is a rarity

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Life is More Important than Art, Whitechapel Gallery review - themes of arrival, belonging and departure unite fascinating mixed show

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Capturing the Moment, Tate Modern review - the glorious power of painting

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Sarah Sze: Metronome, Artangel at Peckham Rye station review - an installation of visual complexity and physical simplicity

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The Dam review - a remarkably haunting allegory

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Isaac Julien: What Freedom is to Me, Tate Britain review - a journey from making documentaries to making art

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Berg review - a glorious visual meditation on the mountains of Slovenia

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Little Richard: I am Everything review - a riveting account of 'the brightest star in the universe'

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Hilma af Klint & Piet Mondrian: Forms of Life, Tate Modern review - the hidden depths of abstract art revealed

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Ai Weiwei: Making Sense, Design Museum review - a deep sense of loss permeates this show

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Berthe Morisot: Shaping Impressionism, Dulwich Picture Gallery review - lightning speed brushwork by an Impressionist maestro

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Antidote review - two films in one that lose sight of their message

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After Impressionism: Inventing Modern Art, National Gallery review - an impressive tour de force

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The Ugly Duchess: Beauty and Satire in the Renaissance, National Gallery review - put in context, a much-loved picture reveals its complexity

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Mike Nelson: Extinction Beckons, Hayward Gallery review - spooky installations by a master of detail

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Beth Gibbons, once the voice of Portishead, and later a wonderful solo singer and songwriter, hasn’t been on stage for a long while. She makes the...

Tosca, Opera Holland Park review - passion and populism

Set in a tensely polarised Roman neighbourhood, with an election in the offing and radicals scrapping with reactionaries under poster-plastered...

St Martin's Voices, Earis, St Martin-in-the-Fields revi...

The concert offering at St-Martin-in-the-Fields has transformed in recent years, under Director of Music Andrew Earis. There is still a decent...

The Harmony Test, Hampstead Theatre review - pregnancy and p...

“Welcome to motherhood, bitch!” By the time a character delivers this reality check, there have been plenty of laughs, and some much more awkward...

The Lovely Eggs, XOYO, Birmingham review - Lancashire duo br...

When the Lovely Eggs’ married duo of Holly Ross and David Blackwell took to the stage at the recently rebranded XOYO in Birmingham on Bank Holiday...

Album: Bat For Lashes - The Dream of Delphi

Natasha Khan’s musical career has always explored the artier end of...

Bluets, Royal Court review - more grey than ultramarine

When does creativity become mannered? When it’s based on repetition, and repetition without development. About halfway through star director Katie...

Sheffield Chamber Music Festival 2024 review - curator Steve...

“Saint-Saëns: The Renaissance Man” proclaimed the big screen at the first remarkable programme I attended within the 2024 Sheffield Chamber Music...