Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap

One reason why the concept of the quotidian has proved elusive to critics of literature and the visual arts is that the commonplace in art and literature so often refuses to remain untransfigured, not least because of its power to confront us with the material detritus with which we surround ourselv...

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Main Author: Judith Woolf
Format: Article
Language:English
Published: MDPI AG 2023-06-01
Series:Humanities
Subjects:
Online Access:https://www.mdpi.com/2076-0787/12/3/46
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author Judith Woolf
author_facet Judith Woolf
author_sort Judith Woolf
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description One reason why the concept of the quotidian has proved elusive to critics of literature and the visual arts is that the commonplace in art and literature so often refuses to remain untransfigured, not least because of its power to confront us with the material detritus with which we surround ourselves and which we will eventually join. It is not surprising, then, that contemporary artists share a preoccupation with finding both mortality and transcendence in what John Wilmot, Earl of Rochester called “the lumber of the world.” In this paper, I shall consider how an early Damien Hirst mini-installation, consisting of a glass tumbler of water and a ping-pong ball, takes its only partly mocking place in a still life tradition going back to Roman <i>xenia</i> and seventeenth-century vanitas paintings, and to a related literary tradition typified by Thomas Hardy’s <i>Under the Waterfall</i> and James Joyce’s great prose aria to water all its forms in the Ithaca section of <i>Ulysses</i>.
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spelling doaj.art-15d5235280a8478d8923bf7cf42d898f2023-11-18T10:41:56ZengMDPI AGHumanities2076-07872023-06-011234610.3390/h12030046Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s TapJudith Woolf0Department of English and Related Literature, University of York, Heslington, York YO10 5DD, UKOne reason why the concept of the quotidian has proved elusive to critics of literature and the visual arts is that the commonplace in art and literature so often refuses to remain untransfigured, not least because of its power to confront us with the material detritus with which we surround ourselves and which we will eventually join. It is not surprising, then, that contemporary artists share a preoccupation with finding both mortality and transcendence in what John Wilmot, Earl of Rochester called “the lumber of the world.” In this paper, I shall consider how an early Damien Hirst mini-installation, consisting of a glass tumbler of water and a ping-pong ball, takes its only partly mocking place in a still life tradition going back to Roman <i>xenia</i> and seventeenth-century vanitas paintings, and to a related literary tradition typified by Thomas Hardy’s <i>Under the Waterfall</i> and James Joyce’s great prose aria to water all its forms in the Ithaca section of <i>Ulysses</i>.https://www.mdpi.com/2076-0787/12/3/46Damien Hirstdeathpoetryvanitas paintingsconceptual artstill life
spellingShingle Judith Woolf
Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
Humanities
Damien Hirst
death
poetry
vanitas paintings
conceptual art
still life
title Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
title_full Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
title_fullStr Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
title_full_unstemmed Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
title_short Transfigurations of the Commonplace: Hirst’s Tumbler, Joyce’s Tap
title_sort transfigurations of the commonplace hirst s tumbler joyce s tap
topic Damien Hirst
death
poetry
vanitas paintings
conceptual art
still life
url https://www.mdpi.com/2076-0787/12/3/46
work_keys_str_mv AT judithwoolf transfigurationsofthecommonplacehirststumblerjoycestap