wed 14/05/2025

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

The Last Musician of Auschwitz review - a haunting testament

Read more...

Do Ho Suh: Walk the House, Tate Modern review - memories are made of this

Read more...

Ed Atkins, Tate Britain review - hiding behind computer generated doppelgängers

Read more...

Hylozoic/Desires: Salt Cosmologies, Somerset House and The Hedge of Halomancy, Tate Britain review - the power of white powder

Read more...

Mickalene Thomas, All About Love, Hayward Gallery review - all that glitters

Read more...

Donald Rodney: Visceral Canker, Whitechapel Gallery review - absence made powerfully present

Read more...

Noah Davis, Barbican review - the ordinary made strangely compelling

Read more...

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...

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...

House of Games, Hampstead Theatre review - adapted Mamet scr...

There is so much that is right about Jonathan Kent’s new production of House of Games – the casting, the staging, the...

Karim Said, Leighton House review - adventures from Byrd to...

William Byrd, Arnold Schoenberg and their respective acolytes go cheek by jowl, crash into one another, soothe, infuriate and shine in their very...

Album: MØ - Plæygirl

Danish singer MØ is a paradox. Initially she appeared to be another Scandi electro-pop princess of the bangers. The monster 2015 hit “Lean On”...

Stile Antico, Wigmore Hall review - a glorious birthday cele...

There was a wonderful festal spirit at the Wigmore Hall last night, as the vocal ensemble Stile Antico ran through a Greatest Hits selection in...

PUP, SWG3, Glasgow review - controlled chaos from Canadian p...

According to PUP lead singer Stefan Babcock, the Toronto foursome practiced together a grand total of twice before embarking on their current UK...

Zoe Lyons, Touring - midlife, without the crisis

Zoe Lyons knows her audience; as a few shoutouts confirmed, many of them are long-time fans, and have had lives with similar highs and...

The Last Musician of Auschwitz review - a haunting testament...

“It is so disgraceful, what happened there,” says Anita Lasker-Wallfisch, in a comment that is the understatement of the century. She is referring...

Giulio Cesare, The English Concert, Bicket, Barbican review...

Is Giulio Cesare in Egitto, to give the full title, Handel’s best and shapeliest opera? Glyndebourne’s revival of the legendary David...

Hallé, Elder, Bridgewater Hall, Manchester review - premiere...

Huw Watkins’ Concerto for Orchestra, the fourth new work of his to be commissioned and premiered by the Hallé and Sir Mark Elder, is...