‘Vibrant' Metrolink mural provides ‘much-improved gateway' to town
A new piece of public art is brightening up the approach to a tram stop.
'On Our Way' was produced by artists Tracey Cartledge and Oskar and co-created with members of the nearby Creative Living Centre (CLC), who help people recover from mental illness.
CLC members took part in artist-led workshops with Tracey to create individual mosaic pieces that are incorporated into the design and some of them painted elements of the mural with Oskar. CLC said the result is a 'dynamic and inclusive artwork that reflects the spirit of the community and provides an improved gateway to the tram stop and Prestwich'.
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Tracey said 'It has been a real pleasure to be part of this project. 'Collaborating with Oskar to plan, design and execute the installation was a new, interesting and very positive experience for both of us.
'I enjoyed facilitating the afternoon mosaic session at the wonderful Creative Living Centre. 'The staff were absolutely brilliant and the participants were completely engaged and very capably produced a set of beautiful mosaic details to enhance the mural.'
The project was also supported by Prestwich Arts Festival, Transport for Greater Manchester (TfGM) and Keolis Amey Metrolink (KAM). Jane Thomson, chair of Prestwich Arts Festival said: 'This is the fourth mural that Prestwich Arts Festival have brought to the town to contribute to its placemaking.
'We're especially delighted that this latest work includes contributions from local people thanks to the team and members of CLC. 'It is a great showcase of the value of arts to wellbeing and mental health.'
Ian Davies, TfGM's network director Metrolink, said: 'This new mural at Prestwich tram stop is very much in the spirit of the Bee Network, with its strong focus on community and inclusion. 'We're proud to have teamed up to deliver this vibrant and much-improved gateway to the stop.
'Our public transport network should be attractive, safe and welcoming to everyone – and what better way to achieve that than involving local people in a project that benefits both themselves and their community.'
This year's Prestwich Arts Festival will run September 26-28.
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Newsweek
28-05-2025
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Family of 4 Cats and 4 Dogs Are Home During Quake—Pet Cam Captures It All
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. A pet owner couple could do nothing but watch as their four cats and four dogs reacted as an earthquake shook the foundations of their home. In footage captured on a Ring security camera and later shared with Newsweek, four dogs, named Mikey, Bindi, Mocha Latte, and Radar, and their four cat companions, Otis, Sampson, Blackie, and Picadillo, can be seen reacting as the home around them momentarily begins shaking. The clip was filmed at a property in Alpine, California, at around 10:08 a.m. on May 1, 2025 and was difficult to watch for homeowners Tracey and her husband at the time. Tracey told Ring: "I was in Puerto Vallarta visiting my father when I got the Ring and earthquake app notifications. My husband, who was at work, got the alert too and sent me the video." When the couple first noticed the deep rumbling that could be heard on the video, they initially assumed it was the sound of low-flying military aircraft, which is not uncommon in Alpine. However, as the video continues and the distinct sound of a crash can be heard, it becomes clear that something more serious was occurring. "While we've felt quakes before, this was their first really intense, loud one," Tracey said. Footage of four dogs and four cats reacting to an earthquake. Footage of four dogs and four cats reacting to an earthquake. Ring While the United States Geological Survey stresses that factors like the distance from the earthquake, type of soil a building is built on and construction design are all key factors, damage begins to occur if an earthquake reaches somewhere between 4 or 5 magnitude. The earthquake that struck Alpine that day measured 5.2 magnitude, so Tracey and her husband were right to be concerned. The shaking is visibly strong on the clip and you can hear a jar breaking in the adjacent "catio." Though only one item appears to break, the video vividly captures the intensity of the earthquake and the panic it caused among the couple's eight pets. In the video the animals can be seen gathering together, as if associating the noise with the imminent arrival of a human. However, when it becomes clear that something more serious is unfolding, the pet friends scatter in all directions, evidently seeking out some form of shelter from whatever was happening. Though the pets were likely terrified, Tracey is pleased to confirm they were not alone for long. "My husband left work to check on them, and thankfully they were okay—just scared out of their minds," she said. But while all of the pets escaped the experience unscathed, the footage of them panicking and running in all directions remains hard for Tracey to watch. "Watching the video gave me chills thinking about how terrified they must've been," she said. One of the best steps anyone worried about the welfare of their dog or cat home alone in an earthquake can take is ensuring they are microchipped. As animal welfare organization the Michelson Found Animals explains: "Should your pet escape and flee to safety during an earthquake, you have a much better chance of being reunited with them if they are microchipped and your information is up to date."
Yahoo
19-05-2025
- Yahoo
‘Vibrant' Metrolink mural provides ‘much-improved gateway' to town
A new piece of public art is brightening up the approach to a tram stop. 'On Our Way' was produced by artists Tracey Cartledge and Oskar and co-created with members of the nearby Creative Living Centre (CLC), who help people recover from mental illness. CLC members took part in artist-led workshops with Tracey to create individual mosaic pieces that are incorporated into the design and some of them painted elements of the mural with Oskar. CLC said the result is a 'dynamic and inclusive artwork that reflects the spirit of the community and provides an improved gateway to the tram stop and Prestwich'. READ MORE: LIVE Air ambulance lands in Piccadilly Gardens after knife attack - latest updates READ MORE: They were wrongly chased for money by the DWP and now they're dead Tracey said 'It has been a real pleasure to be part of this project. 'Collaborating with Oskar to plan, design and execute the installation was a new, interesting and very positive experience for both of us. 'I enjoyed facilitating the afternoon mosaic session at the wonderful Creative Living Centre. 'The staff were absolutely brilliant and the participants were completely engaged and very capably produced a set of beautiful mosaic details to enhance the mural.' The project was also supported by Prestwich Arts Festival, Transport for Greater Manchester (TfGM) and Keolis Amey Metrolink (KAM). Jane Thomson, chair of Prestwich Arts Festival said: 'This is the fourth mural that Prestwich Arts Festival have brought to the town to contribute to its placemaking. 'We're especially delighted that this latest work includes contributions from local people thanks to the team and members of CLC. 'It is a great showcase of the value of arts to wellbeing and mental health.' Ian Davies, TfGM's network director Metrolink, said: 'This new mural at Prestwich tram stop is very much in the spirit of the Bee Network, with its strong focus on community and inclusion. 'We're proud to have teamed up to deliver this vibrant and much-improved gateway to the stop. 'Our public transport network should be attractive, safe and welcoming to everyone – and what better way to achieve that than involving local people in a project that benefits both themselves and their community.' This year's Prestwich Arts Festival will run September 26-28.
New York Times
25-04-2025
- New York Times
British Art in a New Light
On the campus of Yale University, two art museums housed in landmark modernist buildings — each designed by Louis I. Kahn — sit directly across the street from one another. One, the Yale University Art Gallery, with an encyclopedic collection of about 300,000 objects, draws close to a quarter million people annually. The other, the Yale Center for British Art, with its specialized collection of more than 100,000 works from the 15th century to the present, brings in less than half that traffic. The British center is now aiming to even up those visitor numbers. It reopened in March after a two-year closure for conservation of the skylights and lighting throughout the building — the acclaimed architect's last realized project, which opened in 1977 and is widely considered an artwork in itself — and with a fresh exhibition philosophy. A piece by Tracey Emin, who came to fame as one of the so-called Young British Artists in the 1990s alongside peers like Damien Hirst and Sarah Lucas, inaugurates a new program of contemporary works in the lobby. Her glowing sculptural installation, with yellow neon lighting proclaiming in script 'I loved you until the morning' on a mirrored wall in the museum's entrance court, is visible from the street. It serves as an 'invitation' at the front door, said Martina Droth, the center's director, who was appointed in January after working with its collections for 16 years, most recently as chief curator. 'The envelope of the building doesn't scream museum; it's a little austere,' she said. 'I'm hoping that it signals to people there are things here for them.' In two inaugural exhibitions upstairs, large gestural paintings on the second floor focused on the female body by Emin — who established her reputation with confessional, ramshackle sculptural installations — have unexpected resonance with atmospheric landscapes on the third floor drawn from the center's almost 3,000 works by J.M.W. Turner, who was born almost 200 years before Emin and, like her, counted the English seaside town of Margate as an important second home. This pairing reflects the center's new curatorial approach, Droth said, showcasing the depth and richness of its historical collections 'and then taking those threads into the present moment with someone like Tracey, who absolutely sees herself in the lineage of Margate, famous for Turner and now famous for Tracey, and in those sort of painting traditions.' Emin's show, her first solo museum exhibition in North America, may introduce the artist to younger viewers or reintroduce her to those who remember 'Sensation: Young British Artists from the Saatchi Collection,' an exhibition that caused a public stir when it traveled to the Brooklyn Museum in 1999. There, Emin showed a tent embroidered with the names of everyone she had ever shared a bed with. 'Showing Tracey here is just a completely different proposition to showing her in Britain, where she's really a public figure and there's so much baggage around her,' said Droth, who organized the show. She has chosen to focus on Emin's painting, which she had struggled with at the Royal College of Art and abandoned early in her career. She resumed the medium after being selected to represent Britain at the Venice Biennale in 2007, when she began to make paintings that center on the subjectivity of the female figure. Since the death of her mother in 2016, Emin has devoted herself to painting and bronze sculpture. In 2017, Emin bought a home and studio in Margate — where she had a difficult upbringing and was raped at 13 — and has spent most of her time there since 2020. (She also has a home in London.) 'She's depicting the body usually, but it's about the feeling of the body and an atmosphere and a mood,' said Droth, of Emin's paintings that make analogies between her own expressive brushwork and Turner's squalling seascapes. In the painting 'And It Was Love' (2023), which depicts a naked woman splayed across the canvas and a dark form in a wash of deep sunset red between her bent legs, 'you don't really know whether this is a medical emergency, a sexual scene, pleasure, pain,' Droth said. 'It's all of those things.' She noted the faint trace of the stoma on the figure's abdomen connected to a urostomy bag. (In 2020, Emin was diagnosed with bladder cancer and had radical surgery.) Reached by phone in Margate, Emin, now 61, described Turner — who lived part-time with his mistress just minutes from Emin's studio — as 'an early expressionist' and said she loved the 'modesty involved' in showing her work in the context of the British center's collection. 'There's a lot of people who might take my work more seriously now, simply because of the subject matter,' she said. 'I have a very strong opinion on being a woman and I think people understand now that I'm not screaming — I'm just making a point of showing the experiences that women go through.' She wrote a poem to Turner, and to their shared love of Margate's winter sunsets, which is included in a 2024 publication by the center that reproduced his last sketchbook. If Emin thinks about Turner, obviously Turner — born 250 years ago this year — didn't think about Emin. Lucinda Lax, the center's curator of paintings and sculpture who organized the Turner exhibition — the center's first since 1993 — called him 'the father of modern art.' She has included 'Margate' (circa 1822), Turner's view of the newly built seaside resort, with broken ships and workers eking out a living in the foreground, and 'Wreckers' (1834), featuring a tumultuous sea and abbreviated figures scavenging what they can from wreckage. 'He's really trying to bring out the experience, both physically and psychologically, of being part of a particular environment,' Lax said, 'where there's a real sort of sense of the splash of the sea and the whip of the wind.' Lax has also led the fourth-floor re-installation of the permanent collection. 'For the first time, we've got the whole chronological span of British art that's represented in our holdings here on one floor,' said Lax, who has integrated contemporary works by artists including Yinka Shonibare and Cecily Brown into galleries that used to end with the 19th century. She hopes to 'open up questions about empire, gender, the role of women.' As universities are in jeopardy of having funding cut by the government, which has flagged the use of words including 'gender' or 'women' on institutional websites, the British center is not shying away from 'engaging a diverse range of perspectives in dialogue with British art and history,' Droth said. The museum's annual operating budget of almost $39 million is funded almost entirely from the Paul Mellon endowment, the center's founder who donated his holdings of British art that account for almost 80 percent of its collection. Yale is widely regarded as having the greatest collection of British art outside of Britain, said Nicholas Cullinan, director of the British Museum in London, who views the pairing of Emin and Turner as inspired. 'For a younger generation, Tracey's work and way of talking about difficult and uncomfortable things with complete honesty is probably very resonant,' Cullinan said, referring to topics such as abortion, surviving abuse and working-class struggles. 'I think that there was a lot of snobbery around those conversations and an attempt to shut them down as being embarrassing or vulgar,' Cullinan added, noting how the art establishment had put Emin in a box early on. 'Now we recognize that those are not just important, but necessary.'
