British Museum   Tate Gallery   Venice in Peril   Walker Art Gallery  Whitechapel Art Gallery   Compton Verney House Trust   Transatlantic Slavery Exhibition   British Folk Art Collection   The Mostyn   Royal College of Art   Roundhouse Trust   University of Ulster
The Peter Moores Foundation has aimed to 'open doors' and introduce people to new horizons through a wide range of initiatives and practical support - embracing practising artists, students, communities and visitors to art galleries and museums.

The Peter Moores biennial contemporary art exhibition held at the Walker Art Gallery in Liverpool from 1971 to 1986, gained an international reputation. The Foundation also funded a bursary in fine art at the University of Ulster in Belfast, supported the Great Georges Project in Liverpool (the first community arts project of its kind) and continued its support for practising artists, most notably, Boyle Family.
The Foundation has enabled the Museum to expand its work in presenting Asian culture, supporting an exhibition of Hindu art, loaning several rare Chinese archaic bronzes, prior to these going on permanent display at Compton Verney and funding the cleaning and conservation of the Museum's collection of Japanese swords, which were shown in the BM's "Cutting Edge" exhibition from November 2004 - May 2005.

Neil MacGregor, Director of the British Museum, said, "Over the years he’s (Sir Peter Moores) helped the museum, enabled the museum to achieve one of its greatest purposes to present Asian culture to the British public.”

The Foundation contributed substantially to The Queen Elizabeth II Great Court (opened - December 2000 and pictured right). The new court has transformed the physical experience of visiting the British Museum, one of the most popular museums in the world, with a collection spanning two million years of human history which receives about 5.5 million visitors annually.
The Transatlantic Slave Trade Gallery, Liverpool, opened at the Merseyside Maritime Museum in 1994. It was initiated by Sir Peter Moores to foster discussion about the heritage and true history of the slave trade, a subject previously rarely confronted fully by white or black people.

The overwhelming success of this project led to the development of the International Slavery Museum which opened on the same site in August 2007.

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24 May 2013  
The Guardian
'Liverpool's new slavery museum embodies an approach to the past that moves beyond the tired old reparations debate; the International Slavery Museum's commitment to challenging the legacies of slavery is so important.'

The Observer
'It is an exemplary museum display. Such harrowing material cannot be called beautiful, but it is fascinating and thought-provoking.'
The Tidal Series 1969

14 studies of the same carefully selected square of the beach at Camber Sands.

Scottish National Gallery of Modern Art:
Boyle Family retrospective

The Observer

'Here are the facts, facts being the Boyle family business. There are four of them and they always work together. Mark and Joan Boyle, their children Sebastian and Georgia, out in the landscape in all weathers.

Their passion, their métier, has always been the ground beneath their feet, sections of which they replicate in low-relief panels of astonishingly realistic detail.
The most compelling room of the show is hung with a series of studies, the same section of a beach, twice a day at each tide for a week: 14 marvellous variations. The sand undulates, corrugates, is strewn with shells, incised with birds' claws, washed smooth and empty as an ice ink. It could go on forever, this lovely abstraction, the ever-changing portrait of a dune.'
Behind a 1901 terracotta façade in Llandudno is Wales’ leading gallery of contemporary art, Mostyn. It has recently completed an expansion in which old and new buildings were integrated in a design by architect, Dominic Williams.

Peter Moores Foundation supported the main reopening show in 2010 , We Have The Mirrors, We Have The Plans which included work from twenty-five artists and artist partnerships. The exhibition provided an extensive picture of contemporary art practice in Wales and expressed a broad range of current concerns. The title comes from a text by Craig Wood,

"Does art reflect society? Is what art is today what society does tomorrow? Beware... We are the artists; we have the mirrors, we have the plans."

The Daily Telegraph

'The commitment to showing the best of contemporary art from elsewhere, inevitably a challenge for a relatively small gallery in rural Wales, is triumphantly fulfilled by the screening upstairs of one of the most memorable and surreally strange video installations of the last few years, Flooded McDonald’s by a collective of Danish artists who call themselves Superflex – a work that the Mostyn is not merely showing, but actually co-commissioned.

With its stunning coastal scenery, Llandudno is already one of the most picturesque places to visit in the British Isles. With the advent of the new Mostyn, its cultural landscape has also been hugely enhanced.'
BBC: December 2000
'The British Museum's magnificent Great Court - Europe's largest covered square - has been opened by HM the Queen. She hailed the £100m development, with its sweeping roof designed by Lord Foster, as a landmark of the millennium. The project turns the heart of the famous central London building into a piazza offering new facilities and better access to the museum's galleries of historical treasures.

HM the Queen said: "In the life of the nation, the British Museum is a remarkable phenomenon. "It is an institution which has had a worldwide reputation for nearly 250 years and it is an enduring source of learning, inspiration and pleasure for millions of people who visit every year from this country and from overseas."'
The original Transatlantic Slave Trade Gallery