Our pick of this week’s art events: 4 – 11 April

Published 2 April 2015

From political art at Nottingham Contemporary to Ravilious’s engravings in Dulwich, here are five shows to see this week.

  • The Curves of a Needle

    BALTIC 39, Newcastle upon Tyne, 3 April – 17 May 2015
    What do the German cultural theorist Theodor Adorno, the jazz space-cadet Sun Ra and the Turner Prize-winning British video artist Elizabeth Price have in common? A new group show at Baltic’s Newcastle project space. Adorno, it transpires, was an original vinyl enthusiast, publishing a 1927 essay, Curves of a Needle, about the potential of record players. The exhibition takes its title from the essay, and uses it as a departure point to consider vinyl as a social signifier, craft object and idea disseminator.

  • Elizabeth Price, Monument to Graduate Records

    Elizabeth Price, Monument to Graduate Records, 2008.

    Silver gelatine print mounted in coloured acrylic frame. 60 x 41cm.

  • Rose Wylie RA

    Union, London, 3 April – 12 June 2015
    Grimy, gritty and Guston-like in their cartoonish qualities, the huge paintings of recently elected Academician Rose Wylie stew a wide range of subjects, from forms associated with femininity, sometimes drawn from cinema, to images of people at play in nature. London’s Union gallery presents a series of the artist’s recent ‘Yellow Desert Paintings’, which includes Pink Table Cloth (Long Shot) (Film Notes) (2013). Here the Hollywood film Syriana (2005) is evoked both in scrawled red text and a desert scene that shows Arab men – white blobs for taubs – dwarfed around a huge pink table.

  • Rose Wiley , Pink Table Cloth (Long Shot) (film notes)

    Rose Wiley, Pink Table Cloth (Long Shot) (film notes), 2013.

    Oil on canvas. 208 x 330 cm. Courtesy Courtesy of the Artist, UNION Gallery London and CHOI&LAGER Galerie Cologne.

  • Alex Hoda

    Cass Sculpture Foundation, Goodwood, 3 April – 8 November 2015
    Alex Hoda has an omnivorous attitude to sculpture, feeding on past styles such as Surrealism and the Baroque, then drinking them down with a fascination for found objects ranging from kitsch ceramics to sex toys. The results are abstracted, gut-wrenchingly restless forms. The RA Schools alumnus presents a survey show at Cass Sculpture Foundation from this week. The sculpture park is worth a visit on its own; its varied, major outdoor works have been added to recently by an exquisite spindly sculpture by Glaswegian Sara Barker.

  • Alex Hoda, Jawbreaker

    Alex Hoda, Jawbreaker, 2009.

    Polystyrene, jesmonite, latex, PVA, Plastic, rubber, polyurethane rubber, polyurethane pigment. 220 x 153 x 185 cm. Sophie Bolsworth © Cass Sculpture Foundation, Alex Hoda.

  • Ravilious

    Dulwich Picture Gallery, London, 1 April – 31 August 2015
    Eric Ravilious’s elegant engravings and lithographs famously adorned books and ceramics, but his exceptional graphic sensibility can also be seen in his watercolour works, in which reduced forms are composed in magical colour. The English painter’s watercolours are spotlit in a major show at Dulwich Picture Gallery from this week, an exhibition which has already received some rave reviews.

  • Eric Ravilious, The Westbury Horse

    Eric Ravilious, The Westbury Horse, 1939.

    Watercolour and pencil on paper. Private Collection, on long term loan to Towner, Eastbourne.

  • Glenn Ligon: Encounters and Collisions

    Nottingham Contemporary, Nottingham, 3 April – 14 June 2015
    Tate Liverpool, Liverpool, 30 June – 18 October 2015
    Glenn Ligon’s latest works shown in London’s Thomas Dane Gallery were minimalist paintings screenprinted with text relating to a case of police brutality in 1960s Harlem. As the curator of a new exhibition in Nottingham, Ligon mines a similar heady mix, selecting predominantly American post-war and contemporary works – from Pop Art (Andy Warhol) to Conceptualism (Adrian Piper) – that examine social-political circumstance and, in particular, black experience.

  • Glenn Ligon , Untitled

    Glenn Ligon, Untitled, 2006.

    Neon, paint, and powder coated aluminum. 61 x 426.7 cm. Tate Collection Purchased with funds provided by the American Fund for the Tate Gallery 2008.