To celebrate the English Department’s acquisition of Val Wilmer’s portrait of Ronald Moody, Luke Roberts reflects on the life and work of the Jamaican sculptor and KCL alumnus.
For us history was the carrier of no absolutes and conformed to no overarching scriptural commandments. Nothing was ever codified as having its correct place and time. In a suitably paradoxical formulation, displacement moved to the centre.
– Stuart Hall
In Val Wilmer’s portrait of Ronald Moody the artist sits framed by two sculptures: the carved wooden head Tacet (1938) and the concrete and fibreglass figure The Man (1958). He holds a pipe in his left hand, gently resting on his right. His eyes are fixed on something out of shot. Although nothing in this picture returns our gaze, everything holds it. It’s a study of texture and material, balance and weight: the heavy fabric of his sweater, the flesh of the hands and the human face, the greying beard, the exposed brickwork of the studio wall, the concrete phallus, the dome of the skull, triangles of newspaper and just-visible handkerchief, light moving in and out of darkness. Moody himself is the centre of gravity, but it’s a restless centre.
The discipline of archaeology was born in the museum. In the words of Andrew Christenson, “museums were really the first professional homes for archaeology.” Indeed, museums in the mid-nineteenth century played an important role in the institutionalisation of archaeology, forming an essential stepping stone to the discipline we know today. The historical and contemporary intersections between archaeology, museums and collections provide ample scope for research and debate, as the relationship between archaeology and museums has been much altered over time through changing displays, practices, and museum politics.
Introduction by Max Saunders, Professor of English and Director of the Arts and Humanities Research Institute (AHRI)
The idea for Wax Virginia was developed by Prof. Clare Brant, Co-Director of the Centre for Life-Writing Research, and Ruth Richardson, Visiting Research Fellow of the Centre, who both worked closely with the artist Eleanor Crook, on the design of the installation. The project is characteristic of the creativity and imagination they have brought to the Centre. At the unveiling during the Arts & Humanities Festival people were astounded by the way the sculpture transformed the lobby space. It was just what was needed to realise the presence of Arts & Humanities at 22 Kingsway.
By Catriona Livingstone, PhD student in English Literature.
One of KCL’s most famous alumni has returned to the college, taking up ‘a room of her own’ in the lobby of the building named in her honour.
‘Wax Virginia’, a work by sculptor Eleanor Crook, was unveiled – or ‘unleashed’ – on Wednesday evening, at an exciting event organised by Professor Clare Brant, co-director of the Centre for Life-Writing Research at King’s, and well-attended by staff, students, and other Woolfish enthusiasts. The sculpture is the result of over 120 hours of work and careful research – Crook studied photographs of Woolf in order to trace the changes in her face over time and to select the particular moment – and emotion – which she wanted her sculpture of Woolf to occupy. Continue reading Wax Virginia→
From the Department of English at King's College London