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04 Jun 2012

New curator at Llandudno

street view of Mostyn Gallery, historic red exterior on a shopping street
Oriel Mostyn art gallery on Vaughan Street, Llandudno, North Wales, pictured in 2010 after its refurbishment. Gallery originally built for Lady Augusta Mostyn in 1901. Photo: Eirian Evans

“Oriel Mostyn Gallery in Llandudno has announced that Adam Carr has been appointed Visual Arts Programme Curator. An internationally recognised curator and writer, Carr has organised numerous exhibitions for museums, institutions and galleries across the globe, including those in Austria, Belgium, France, Germany, Italy, United States, Lithuania, Mexico, as well as the UK.” (Western Mail, 4 June 2012)

Royal Academy Summer Exhibition 4 June -12 August

From the Royal Academy archive

“The artist Tess Jaray, one of its co-ordinators, has transformed the largest of the Burlington House galleries in London, a palatial space which in the past has usually been reserved for a handful of gigantic works strictly by royal academicians. This year she appealed to the RAs to send small works – they took it in good spirit, she says – and mixed them up with hundreds more chosen from the 12,000 sent in by outsiders. She then sank “the line”, the cherished privilege of hanging paintings just at the viewer’s eyeline on the wall, which in centuries past has caused artists to trade insults or even punches, or withdraw their work entirely in a huff.” (Maev Kennedy in The Guardian, 30 May 2012)

” … to fully embrace the democratic nature of the hang, [curator, Tess Jaray] not only mixed sculpture, architectural models, and paintings in Galleries V, VI, and VII—breaking down the separation of media so that common threads could be found—but she also transformed Gallery III into an installation that resembled one of her own works. Creating an enormous shimmering wave of paintings around the room, she brought together small exhibits by professionals, amateurs, artists young and old, RA and non-RA alike, to present in a single striking expression of what makes the Summer Exhibition so visually unique.” (Richard Davey, “2012: The Hang.” in The Royal Academy of Arts Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner and Jessica Feather. London: Paul Mellon Centre for Studies in British Art, 2018.)