Her new work at the Maureen Paley Gallery, E2, draws inspiration from Edna St Vincent Millay, Nina Hamnett, Michael Corinne West and Mina Loy, a powwow of radical artists and writers whose hypnotic glamour Donachie renders beguiling and subtly sinister. Until 11 April.
Photograph: PR
Liversidge infiltrates social and art world conventions with the mildly provocative mischief of a poetically inclined kid in The Thrill of It All at the Ingleby Gallery. Until 10 April.
Photograph: PR
This exhibition, Where Is Where? offsets the true story of a French boy murdered by his Algerian playmates 50 years ago against that of a present-day poet confronting death. At the Parasol Unit, N1, until 25 April.
Photograph: PR
An urban daydreamer and a seeker of the poignant absurdities and futilities of city life. He is the contemporary art version of 19th-century French writer Baudelaire's concept of the flâneur, the apparently aimless wanderer who sees beyond the rat race. Le Temps du Sommeil presents more than a hundred painted collages in the form of plans and diaries of performances. At the Irish Museum of Modern Art, until 23 May.
Photograph: PR
Bright dots for eyes and dashes for mouths gape out of the layered dark washes of paint in Neil Baker's latest work. These emoticon-faced creatures represent the Slade School graduate's adventures with the language of his materials, which he has said is more about "grunting and groaning than speaking". At Outpost Art until 21 March.
Photograph: PR
One of the Finest Ladies Ever to Walk the Streets, by Jack Crabtree features in his latest exhibition, Overt Street, at Rochdale Touchstones. The artist returns from his studio in France to his Rochdale birthplace to present an exhibition named after the Rochdale address of his late mother's home. There's always been a focus on local character with Crabtree wherever his painting has taken him. He has an eye for the precise eccentricities of the most apparently run-of-the-mill personalities. Until 18 April.
Photograph: PR
This survey at the Serpentine Gallery, W2, focuses on the octogenarian's stridently politicised side, showcasing works that mix righteous ire, piercing insight and media savvy. Included is the tabloids' favourite, his digitally manipulated image of Tony Blair dressed as a cowboy. Until 25 April
Photograph: PR
The exhibition title, Drawing A Shadow: No Object, indicates the ungraspable evanescence of Alan Johnston's drawings. Working directly on to the walls of the gallery with short, incisive pencil strokes, it's almost as if the artist is blindly feeling the space out, marking the architectural relationship of one wall to another, stressing the vastness of the atmosphere in between. At the Henry Moore Institute until 2 May.
Photograph: Jerry Hardman-Jones
