{"status":true,"msg":{"data":{"id":45,"auction_id":1,"set_id":1,"lot_number":"9","artist":"Annie Cabigting (b. 1971)","title":"III","starting_price":2000000,"signed_dated":"dated 2019","medium":"oil on canvas","size":"20” x 24” (51 cm x 61 cm)","property":null,"coa":null,"provenance":"Pintô Art Museum, Antipolo","exhibited":null,"literature":"Bunoan, Ringo. Annie Cabigting: Something To Do With Art. Makati: Finale Art File, 2022. Full-color illustration and painting description on page 41.","write_up":"The original \"OOF\" is a striking and deceptively simple composition that embodies a complexity upon closer examination. The painting features the bold, capitalized word \"OOF\" set against a monochromatic background. The choice of word and its bold presentation immediately captivate the viewer's attention, prompting curiosity and contemplation. Furthermore, \"OOF\" can be seen as a commentary on the mass media and consumer culture prevalent during the era of its creation. The use of a word that could be associated with a sound effect from a comic book or an advertisement reflects Ruscha's engagement with popular culture and his critique of its pervasive influence on society.<br /><br />\nRuscha's selection of the word \"OOF\" in the painting carries a multifaceted significance. The onomatopoeic quality of the word conjures various interpretations, evoking a sense of sudden impact or surprise, as if the viewer has been momentarily winded. Its phonetic resonance is open-ended, allowing for personal and diverse associations.<br /><br />\nCabigting's depiction of “OOF” situates it on a white gallery wall, not unlike its real world space within the collection of MoMA. But after five decades, can we say that Ruscha's work has evolved as well? In line with Cabigting's practice, one can surmise that this is ultimately the question the piece wants to ask. One can argue that the biggest draw of Cabigting's series of paintings of other paintings is that its almost hyperrealistic treatment is furthered by our familiarity with the format on the more easily accessible medium of photography. Who hasn't seen photos of people with their back turned against the camera and gazing upon a work within the walls of a gallery or a museum. The fact that these are real or staged are beyond the scope of the images themselves. Instead, one must focus on the fact that within the context of the accessibility of a digital space like social media feeds, what we are being fed is a reality that forces us to look at art through a very specific way; one that may come off as overly serious at times. Cabigting's OOF\ncan be read as a critique of this very tendency, with Ruscha's work acting as the perfect medium for it. Here, the originally ironic piece is viewed within a space sometimes invites an almost ideological sense of worship. Though that isn't to say that such spaces do not invite a level of critique. Instead, Cabigting hopes to explore and bring to light the way these spaces now operate under today's contemporary context.<br /><br />\nRuscha's work, no matter his intention, no longer belongs to him. But neither does it belong to Cabigting as well. In fact, the term \"oof\" has garnered a considerable amount of attention ever since Ruscha's original work and Cabigting's own piece. In keeping with the original 1962 piece's intention, the term has retained its comedic effect. But no longer is it merely humorous for its guttural and almost primal onomatopoeic sound and look. Instead it become a gag or a joke itself. Its roots stretching far back into the recesses of the internet of things, bringing for a level of absurdity born out of obscurity. The term \"oof\" has become a meme of sort, used as a placeholder for either and empathetic or sympathetic settlement tinged with just a bit of irony and lightheartedness. From comment sections, to image macros, and even casual conversations with friends, the term has morphed into something Cabigting could have never anticipated, and Ruscha would not have even been able to comprehend.<br /><br />\nThus we are left with a prime example of how a singular word has evolved three times. Once within the context of a world beginning to experiment, once again, with one of the oldest forms of media: paint. Another in relation to the relative ease of photography and the rise of galleries and museums as the main conduit of visual information in the digital age. Lastly, we see it change into what is arguably the zenith of an idea's life on the internet; a viral meme. It is without a doubt that the term will undoubtedly evolve with the times (or perhaps perish in obscurity) But, needless to say, what we have here is a rare and brief artifact of something that is ultimately ephemeral in nature. (Jed Daya)","lot_group":"PAINTING","lot_details_html":null,"alias":null,"hp":4400000,"bp":0.2016,"isWithdrawn":0,"accounting_hp":4400000,"userBid":5926,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":null,"hammer_price":5287040,"fav":0},"image":[{"id":6,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/1/1/lot/9.jpg","isFeatured":1}]},"increment":[2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":8,"next":10,"count_bid":0,"bid_history":[],"tokenExpired":1}