fri 27/01/2023

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

Eco-Visionaries, Royal Academy review - wakey, wakey!

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Lucian Freud: The Self-Portraits, Royal Academy review - mesmerising intensity

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Pre-Raphaelite Sisters, National Portrait Gallery review – a fascinating glimpse behind the scenes

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Great Women Artists review - the book we have been waiting for

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Anna Maria Maiolino: Making Love Revolutionary, Whitechapel Gallery review – a gentle rebellion

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Into the Night: Cabarets and Clubs in Modern Art, Barbican review - great theme, disappointing show

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Kara Walker: Fons Americanus, Tate Modern review – a darkly humorous gift

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Beuys' Acorns, Bloomberg Arcade London review – not much to look at, but important all the same

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Olafur Eliasson: In Real Life, Tate Modern review – beautiful ideas badly installed

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Félix Vallotton: Painter of Disquiet, Royal Academy review – strange and intriguing

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Kiss My Genders, Hayward Gallery review – a shambles

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Eating Animals review - a compelling tale of imminent disaster

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Natalia Goncharova, Tate Modern review - a prodigious talent

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Lee Krasner: Living Colour, Barbican review - jaw-droppingly good

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Mike Nelson, The Asset Strippers, Tate Britain review – exhilarating reminder of industrial might

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The Thread, Russell Maliphant & Vangelis, Sadler’s Wells review – an inspiring marriage of old and new

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Charlie & Stan, Wilton’s Music Hall, review - a beguilin...

Imagine what would have happened if the young Charlie Chaplin and Stan Laurel were cabin-mates on a transatlantic liner. The Told by an...

Noises Off, Phoenix Theatre review - much revived classic fa...

There’s a chance – a slim one – that you haven’t seen Noises Off, Michael Frayn’s farce...

The Last Stage review - a former prisoner returns to the dea...

Seventy-eight years ago, on January 27,1945, Auschwitz concentration camp was liberated by the Red Army. The iconic images of the ovens with...

Women at War, Netflix review - contrasting stories entwine d...

A sprawling French-made drama set in the early days of the...

Album: Deathprod - Compositions

Ambient is everywhere now. After a quiet (lol) 2000s, when it rather disappeared into the cracks, perhaps tarred with the sense that the more...

Spain and the Hispanic World, Royal Academy review - a monum...

Treasures from the Hispanic Society Museum & Library are displayed as a monumental survey of...

Celtic Connections: Juliette Lemoine, Orchestral Qawwali Pro...

In full force again for 2023, Scotland’s premier folk...

Album: Låpsley - Cautionary Tales of Youth

Let me start by being pretentious and self-referential, spending ages doing that rather than reviewing the album. My theory is that most male...

Julie Cunningham & Co, Sadler's Wells review - a fi...

At the arthouse end of contemporary dance no one expects a packed house, still less serial packed houses for more than a week. Yet Sadler’s Wells...