While the art auctions this month have been staggeringly impressive in terms of artwork being sold for record-breaking prices, The Economist has published an article, based on analysis of data provided by artnet, that highlights the huge discrepancy between the amount of money fetched by post-war female artists and post-war male artists.

As you can see in the image below, a screen short from The Economist article here, Mark Rothko is the male artist with the highest-selling at auction artwork, for Orange, Red, Yellow which was bought for $86million while Louise Bourgeois leads the female post-war artists with her work Spider selling for $10million - a whopping $76million difference between the highest post-war selling artwork by a male and female artist.




While the figures are certainly depressing, Amy Cappellazzo, chairman of post-war and contemporary art development at Christie's, told The Economist that attitudes towards female artists are changing, generationally. "It wasn't long ago that it was hard to be taken seriously as a woman artist. There will be some remedial catch up before women artists have parity on prices."

You can read the full article on post-war artists work at auction in The Economist here.

Mark Rothko's luminous canvas 'Orange, Red, Yellow' sold for $87 million at Christie's auction last night, breaking the record for the highest selling postwar and contemporary artwork sold at auction.

Rothko's work sold alongside work by Jackson Pollock, Barnett Newman, Alexander Calder, Gerhard Richter and Yves Klein at the Christie's auction on Tuesday May 8, 2012, the evening totaled $388.5 million (£240.5m).

The New York Times reported that there was an unusually large array of Abstract Expressionist paintings at the auction, which the publication says was due in part to Christie's having won property from the collection of David Pincus who, with his wife Geraldine, had collected paintings and sculptures by Rothko, Pollock, Newman and de Kooning for decades.
Pollock's 'Number 28, 1951' sold for $20.5 million to a telephone bidder.

Newman's 'Onement V' sold to a telephone bidder for $22.4 million and Klein's 'FC1' also sold for a a record price of $36.4 million.

Only last week, Edvard Munch's 'The Scream' sold for a record $119.9 million (22.6m), proving forecasts that May was tipped to be a very big month for several auction houses selling Impressionist, modern and contemporary artwork this month.

Ever wondered what's inside celebrated contemporary artist Damien Hirst's personal art collection? In two years time, you'll be able to find out.

Damien Hirst has announced he will open a public gallery in South London in 2012, which will display his personal collection. He told The Telegraph: "It's my Saatchi gallery, basically... a place to show my collection of contemporary art."

According to reports, the gallery will house around 2,000 pieces including works by Hirst, Banksy and Jeff Koons.

Are you excited to see what's inside Hirst's personal art collection? Will you visit his gallery once it's open?

Working across painting, collage, drawing, installation and sculpture, Alex Daw first turned heads with his debut solo show at Wieden and Kennedy, which became a sell out hit. From there, he has exhibited worldwide and also had work commissioned by Diesel, Ralph, Lauren and Georgina Goodman.

We caught up with the leading East London-based contemporary artist, as part of our 'Meet The Artist' series.



Do you remember when or where your interest for art stems from?

Yup, as a kid I watched The Snowman everyday for two years. I was fascinated by the drawings and animation. Like most kids I was blooded on Disney films, the first film I saw was Bambi and I can remember being really scared by it and quite upset. Although this may not be defined as ‘art’ it was the nucleus to discovering, exploring and experimenting with drawing.

Do you come from an artistic family…?

My mum disowned her father via a letter 20 years ago, I recently found out he’s an artist?! He just paints ‘stags’ apparently so not that interesting but my mum is very creative, I definitely get inspiration from her. My dad (R.I.P) never liked the idea of me pursuing a career in the Arts but was a cultured Art fan.

As a serial collagist with a penchant for dicing and slicing, did you use to cut up toys and your sister’s dolls when you were little…

My older sister was a bit of a bully and once dressed me up as a girl, told me there was a fair in town and led me to a swamp which her and her friends pushed me into...I never got the chance to slice up her dolls but would have definitely done so had I got the opportunity. I used to customise turtles figures when I was younger and even started a turtle ‘club house’ where we pasted the walls with Turtle Collage?!

How would you describe your work and style?

Constantly evolving, looking for answers, avoiding a defined ‘style’, pushing & pulling.
By proxy my work is ‘of this time’ as I use images and trash that is readily available, however I’m always thinking about future audiences; what would future generations think of this output? Would it be relevant?

Rather than specialising in just one area, you do paintings, collages, drawings, installations and sculptures… and you paint in oil, acrylic and aerosol. Is there anything you can’t do?

That’s daft, I’m nowhere near anything artistically. I’m ambitious and obsessive and often try out almost anything to get to a point where I’m happy. I work very viscerally and often don’t question the material, if it’s available, to hand, I just play; essentially that’s the guts of the work. I’m far from the finished article, It’s called ‘Art practise’ for a reason. I admire Artists like Francis Bacon and Lucien Freud, they never looked back ,always forward and remained disciplined throughout aswell as living colourful lives, I guess I’m gunning for that.

Your approach to your work is often described as ‘compulsive’ or ‘obsessive’… is this a fair description and if so why or how so?

As above; I am an addict to image. This fucks with things massively though as the message (if initiated) can get lost in the layers. In contemporary times I think there’s a compulsion to almost everything, be that consumerism, alcohol, sports, sex; everyone has their vice, mine just ain’t that glamorous.



What can you tell us about your upcoming collaboration with us at BLOC Salon on March 15?

I was invited to create a small series of work for a show that’s on for a month. ‘Short Cut’ is or should be exactly what it says on the tin. I cut things, it’s a small show etc. I have been thinking about the relationship between the work and the salon in terms of the human condition. You’re quite vulnerable when in a salon, being touched and trimmed. I treat my compositions in the same way, they are always being cultivated, it’s a cool link.

You’re producing three new works for the exhibition, how long does it take to do a piece?

Finding the images that fit can take months, weeks and then the actual composition may take just a few days if a ‘straight’ collage. Usually I work slowly for months on pieces, especially paintings, most of which never see the light of day though as I get frustrated and destroy them.

You’re also doing a window installation, can you give us some titbits on what to expect?

I’ve always worked on glass but am conscious that the work isn’t permanent so i’ll be doing some vinyl/ sticker action!


How do you approach a new piece? Does it start with sketches, for example, do you plan it out thoroughly, or do you just let the scissors, pens and paint take you in a direction?

With paintings I plan somewhat, with sketches often digitally to save time and avoid frustration. I never use scissors by the way ;), I use a surgical scalpol blade that gives accurate cuts and frees things up but it does lose expression somewhat as the lines and cuts are so defined. It is a very carnal way of working though, the subconscious comes into play but somehow this has to be harnesses as focus is so important to a finished composition.

When you’re not working on your art, what can you be found doing?

I like to work full stop so I try and organise, curate or generally make things happen.
I like re-energising forgotten spaces, I developed a former tube station into a temporary gallery with my brother Laurence, that was fun but also quite hellish. I want to try and tap into his ethos of creating a happening or life like environ for a future installation.



What or who are some of your influences or inspirations… where do you look to for inspiration?

I try not to look at too much stuff as it seeps in places you wouldn’t imagine, next thing you know you’re making marks that have already been created. People say it’s impossible to be original but I’m a romantic and still believe there is room for a marriage of tradition and craft that hasn’t been created before. Living in East London I am constantly inspired, the night life is so eclectic and vibrant, the scene is infectious. Whether this eats into my work i’m not so sure but living back home in the country i’m sure my work would look very different.

In a previous interview you said “I was referred to as a lost soul by a spiritualist my mum had a reading from once”, do you still feel like a lost soul? Does art help?

Yup, I think most Artists are super self conscious and extremely paranoid. We aren’t normal this is for sure, we chose a different path. We exist in normality and society yet try and create by different rules. I’m within touching distance of what I want from my work and my life but it still isn’t with me, ‘lost’ most definitely.

You’ve also said your “mum and family have always supported me, they don’t like my work but that’s one of the things that drives me”… what doesn’t your mum like about your work…

Ha, you’re getting very personal with these questions. Like most people she prefers, figurative or easily readable work. She has Klimt prints, decorative stuff. For me that never had any guts, my work must. Maybe one day she will be into it but I cant let that bother me. They are just throwaway comments, like I spent months on a painting, on and off, showed her it and she said “why did you use that blue, you should have used another colour?”...I can’t win!

Where do you get all the magazines you cut up from? Will you just cut up any old magazine you can get your hands on or is there specific publications you prefer to dissect?

I like to get stuff hot off the press, now stuff & mix this with high brow material. Fashion mags always have amazing photography and the poses aren’t too unlike those of figures depicted in classical painting, all twisted hands, arched back and flailing legs.
I recently bought 100 national geographics’ from West London which I had to cart around on the tube in the heaviest suitcase ever! The photos in there are off the scale, the print quality is grainy, the images loaded, these juxtaposed with modern imagery are at times quite beautiful.

What do you hope to achieve in your work? How do you want the viewer to feel?

I want a lot more from my work, it’s a discipline, a focus, a practise so I must keep going, pushing. I want to be happy with it, but never am ever! I don’t ‘want’ the viewer to behave in a certain way, I want people to access it however they chose and take what they want to take. The facade to my work is often glossy and slick and I often incorporate subtle sybolism and occasional narrative but it always goes a miss so now I just like to let the work do its job for whomever encounters it. Beauty is in the eye of the beholder right? What do I know...

 

In the past you’ve done commissions for Diesel, Ralph Lauren, and Georgina Goodman. Can you tell us about these experiences? How did they come about and what did you create?

Like everything in my life they all happened very randomly, I was overworked and exhausted on some of those ‘jobs’, I realised for someone like me whom makes everything from scratch big commercial jobs maybe aren’t good for the soul. However through Ralph, I met some great artists and have since worked with James Jessop, Anton Unai and become friends with other artists through the process. I put alot of pressure on myself and when money is involved that also raises the bar. Georgina is now a good friend & fellow creative I loved working in Paris with her and seeing another side to the fashion industry. I am a lot more reluctant to certain opportunities now though and find myself saying ‘no’ alot more than I do yes!

How – if at all – does or will digital media affect collage artists?

It definitely will in a few decades as paper will be rare and all will be digital, like calligraphy, writing, physical real stuff will be like an art form. I think software definitely opens up development where college is concerned but it’s almost too easy to create, analogue all the way!

You’ve also said that your work is “very reactive to [your] surrounds” and that you “have to listen to music pretty much all the time”. What sort of music do you listen to? Do you listen to different genres to achieve different results? If not, do you think listening to something like Swedish Deathmetal or minimal electro music would affect your work, and if so how?

Ha, I listen to all sorts, hip hop, Electronic, Industrial, NEVER pop though that would kill me, even if my work sometimes appears to have a pop aesthetic. I have been listening to a lot of classical recently. Essentially I just want to leave this planet temporarily and gently, slowly build the work without interruption or guidance, music absolves the borders of reality.

What are your plans for the year ahead?

Wow, I don’t really plan but there are multiple ideas floating around and options, I definitely want to be simply making though so may avoid showing too much.

If you could share a meal with anyone living or dead, famous or not, who would it be and why?

My dad.  This interview would be the most insular, self indulgent borefest if I listed all the reasons but my dad was a bit of a legend, he died as a result of a car accident caused by a young girl (then the same age as me 17) in 99’. It would be a fast food feast, (calories don’t count when youre dead!) with Jerry, Francis Bacon, Winston Churchill & maybe Hitler then I could slap him with a fish, Monroe for eye candy and myself as a quiet observer...good night!


To see more of Alex's work, visit here.

Sydneysider Brian Walker is a world-renown contemporary digital artist whose work offers a satirical examination of beauty, fads and fashion through the evolution of popular culture. Working in digital photography, Walker says, “Photography allows my images to suggest a documenting of these happenings with the ability to create surprising elements and surreal situations, playing the line between the familiar and that of dreams.”

From across the world, we spoke with this talented antipodean artist about his work, influences and life Down Under.




 
G’day Brian, who or what first inspired you to become an artist and when was this?

I have always liked drawing and used to sketch people on trains and friends from school. I wanted to create realistic representations of what I saw in front of me at that point, as I figured that was what the whole creative thing was about. Then I saw the work of Salvador Dali and I had a paradigm shift in understanding what could be ‘real’ and significant.

You mention Dali had a significant influence on you, and previously you've also sited Belgian surrealist Rene Magritte and fashion/advertising photographer David LaChapelle as major influences too. What do you like about each artist's work? How have they influenced you?

With Dali, it was his exploration of reality which intrigued me. With Magritte, it is his purity of vision and simplicity in portraying quite complex ideas that can leave the viewer perplexed as to their meaning. David Lachapelle is a Pop Culture junky and his work is witty and punchy in their presentation. So overall, I like to draw on the skills of each of these artists, as their approaches to representation.

Can you tell us about your creative process?

My creative process begins with observation. I guess I am a bit of a Sociologist at heart, observing the interesting lives of those around me and the various influences and pressures involved, particularly in how people look. Once I have a theme, I sketch out the idea and continue to do so, toying with layout, composition and technical aspects until I feel that I have the ‘blueprints’ I need for the shoot. Then, I speak to my people (make-up artist, models, stylists) and aim for a creative mind-meld. In most cases, the result is VERY similar to the sketch I used to produce it, as I have already made many of the key decisions on paper before shooting.



Obviously there’s some photo manipulation in post-production, but I'm wondering how much of your final photograph is photoshopped and how much of it do you try to achieve in the shoot - such as the rich and vibrant colours for example?

Using my sketches, I aim to consider all the technical considerations involved with the aim of this process being to use the least amount of Photoshop manipulation as possible.  The colour scheme and approach also being as a pre-production consideration.

Every time I look at your Zombie Kit pieces, I can’t help but smile. There’s a really wonderful and wry sense of humour there, I’m wondering how did the idea for those two pieces come about?

Originally the idea was about an homage to one of my favourite movies “Evil Dead” and includes a number of elements from the movie including the Necronomicon, Book of the Dead. After producing that one, there seemed to be a real influx of zombie movies, so it seemed only natural to produce a sequel.

 

 

 

Why do you only use female models in your work?

I seem to align myself with societies focus on the ideal representation of a person, one which is primarily based on the female figure as a visual commodity and the apex of beauty. I am interested in the human condition of striving for ultimate perfection along with the influence of popular culture, which likes to throw in a number of fashion faux pas along the way.


What's the most memorable comment you've heard or read about your work?

It’s the funny things that stick in my mind, such as when a Portuguese magazine wrote an article on my work and in reference to the work 'Greasy Spoon', they referred to the “dog food” in the bowl which the model was eating when in fact it was “Fruit Loops”. It wasn’t deep or meaningful, though it did stick in my memory for some reason …
 
What's the visual art scene like in Sydney, where you reside?

The Visual Art seen on the street level is very fun and lively with lots of new galleries springing up. Though in terms of upper-crust galleries, they are certainly more conservative here and like to stick to the regular more ‘accessible’ works.
 
Is it hard being an artist in Sydney? Do you get distracted by the beautiful weather and beaches?

Don’t forget the beautiful people! The weather is very happy here and our light is very easy to work with where photography is concerned. On top of that, it just means that there are less rained out shoots.

Do you collect art yourself?

I don’t collect art-works per-say. I love collecting all manner of quirky knick-knacks though. From collectible retro and deco objects through to tacky kitsch finds that either inspire me or make me laugh.


 
When you're not creating art (ie working), what can you be found doing?

I will be at the movies! I love the big screen and everything it offers my eyeballs. I also like days down at the beach, where I enjoy falling off my surfboard.

What can we expect to see in terms of direction and subject matter in your new work?

I am planning on examining the works of a few key artists. I recently produced a work which was a bit of an ode to Damien Hirst, who I think is an interesting character. So, I have a few ideas for other people I would like to creatively dissect and re-suture.
 
What have you got coming up? Any exhibitions/projects planned for 2012?

I have a 'Day of the Dead' themed series I am looking forward to along with my own hat tipping nod to Manet’s Olympia which is a favourite of mine, being the renegade that Manet was.


  To see more of Brian Walker's digital art, click here.

While many are placing their proverbial bets on who will win Best Single, Album, Group and Male and Female Artist at the Brit Awards 2012, we're most excited about seeing the actual trophies that have been designed by legendary British pop artist Sir Peter Blake.

Blake is the perfect person to design the Brit award, considering that his name and work has become synonymous with the very best of British music. Blake famously designing the album sleeve for The Beatles 'Sgt Pepper's Lonely Hearts Club', the sleeve for the original Band Aid 'Do They Know It's Christmas' single, Paul Weller's 'Stanley Road' album and Oasis's 2006 Greatest Hits collection 'Stop The Clocks'.

This is the second year  the Brits have asked a leading British creative icon to design the trophy, following Dame Vivienne Westwood's success last year.

He told the BBC:

"The actual shape was designed the year before so I had to work with it. Vivienne Westwood did it last year and used a Union Jack motif so the red, white and blue is like a section taken through the middle of the flag.

The motifs at the bottom are just things I was thinking about and then the print of BRIT in big letters just to show what it is, so it's simple and clear

I always find the initial idea is almost always the best, that's how I work, and the simpler, the better is often best. It's simple and, I hope, effective."

The Brit Awards take place on 21 February and  will include performances from Mumford and Sons, Adele, Rihanna, Take That, Arcade Fire, Tinie Tempah, Cee Lo Green and Plan B.

Sir Peter Blake's highly popular Homage to Rauschenberg series has now been fully released. You can view all prints in the Raushenberg series as well as other Sir Peter Blake signed limited edition prints including the below 'T is for The Beatles' here.