Beth McKillop, a distinguished curator and scholar known for her profound contributions to the understanding of Korean art, passed away at the age of 72 after a courageous battle with metastatic breast cancer. Her journey into the world of Korean aesthetics began serendipitously during her tenure at the British Library in the 1980s, where she identified a glaring deficiency in expertise regarding the institution’s Korean collections. Long before K-dramas and K-pop became global phenomena, McKillop was championing the rich artistic traditions of Korea, advocating for their rightful place in the broader narratives of East Asian art history.
A Journey of Discovery
McKillop’s path to becoming a leading authority on Korean culture was anything but conventional. Initially working in the Chinese section of the British Library, she was struck by the lack of scholarly attention given to Korean materials. This realisation propelled her to study the Korean language at the School of Oriental and African Studies (SOAS), where she honed her expertise under the guidance of William Skillend, a pioneer in Korean studies in the UK.
Born in Glasgow, McKillop was the eldest of four children in a family that valued education. Her academic journey began at the University of Glasgow, where she earned a humanities degree before moving to Churchill College, Cambridge, to pursue Chinese studies. In 1975, she was awarded a British Council scholarship for an academic exchange programme in China. This experience, occurring during the tumultuous final years of the Cultural Revolution, profoundly shaped her worldview and laid the groundwork for her future endeavours.
Transforming Institutions and Expanding Horizons
Between 1990 and 1993, McKillop made her mark as the Samsung curator of Korean art at the Victoria and Albert Museum. Here, she achieved a monumental feat by establishing the UK’s first permanent gallery dedicated to Korean art, fundamentally altering the landscape of cultural appreciation in Britain. McKillop’s contributions included the acquisition of over 120 historical and contemporary objects, among them a remarkable celadon vase by artist Shin Sang-ho. Her dedication to showcasing the interplay between tradition and innovation is encapsulated in her observations about the vase’s design, which combines elements of the Koryŏ tradition with modern artistic sensibilities.
The gallery she created not only highlighted ceramics but also introduced visitors to a diverse array of Korean textiles, furniture, and decorative arts. A late-19th-century folding screen depicting the four seasons, a bridal robe by designer Lee Young-hee, and a tanch’ŏng painting by Buddhist monk Yi Man-bong were among the treasures that McKillop championed, each telling a story of cultural evolution.
Lasting Influence and Recognition
McKillop’s influence extended far beyond her curatorial achievements. She was a key figure in making the British Library’s collection of Dunhuang manuscripts more accessible and served as a collaborator on the first comprehensive catalogue of early Korean books. Her expertise was recognised in the academic community; her essay on the history of Korean printing was featured in the Oxford Companion to the Book.
Even after her retirement in 2016, McKillop remained a vital force in the field, actively pursuing research and contributing to publications, including the forthcoming *Precious Beyond Measure: A History of Korean Ceramics*. Her leadership was marked by a commitment to nurturing the next generation of curators and scholars, earning her the respect and admiration of many who credit her with shaping their careers.
As president of the Oriental Ceramic Society and a trustee of National Museums Scotland, McKillop was instrumental in various initiatives, including the integration of a significant Chinese ceramics collection into the British Museum, a move described by its director as a monumental gift to the institution.
A Personal Legacy
In her personal life, McKillop was married to Andy McKillop, a publishing director turned gardener and artist, who survives her, along with their children, Lucy and Joe, and grandson Sam. Her family, along with the countless professionals she mentored, will remember her not only for her professional achievements but also for her warm and encouraging spirit.
Elizabeth Dorothy McKillop, born on 28 May 1953, leaves behind a legacy that is both profound and far-reaching, having transformed the understanding of Korean art and culture within the UK and beyond.
Why it Matters
Beth McKillop’s passing marks the end of an era for the study of Korean art in Britain. Her tireless dedication to elevating Korean cultural narratives and her pioneering efforts to establish a dedicated space for Korean art in major institutions have reshaped the landscape of East Asian studies. In a world increasingly drawn to the eclecticism of global cultures, McKillop’s work serves as a poignant reminder of the importance of understanding and appreciating the unique stories that each tradition has to tell. Her legacy will undoubtedly inspire future generations of curators, scholars, and art enthusiasts to continue exploring and celebrating the rich tapestry of Korean heritage.
