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All Photographs Copyright
2006 by J R Compton. All Rights that
be mine and not the Dallas Civic Opera's Reserved.
members The Continental
Gin Building Annual Fall Open Studios "Tunnel Vision:
Good-Bye, Good-Latimer" with work by Julia Alcantara, Donna
Ball, Fannie Brito,
Henry Dees, Michael Francis, Ricardo Paniagua, Andrea Guay, Anne Hines,
Steve Larson, Karla
Leaphart, Ty Milner, Marsha Moser, Bob
Nunn, Caroline Shaw Ometz, Kim Cadmus Owens, Sally Pryor, Mark Quintana
and Steve Tate November
10 & 11 at 3309 Elm
See more art by DallasArtsRevue members by linking
to their member pages via the links above.
Bob Nunn - The End of the Tunnel, 2006
- oil on canvas
week, I wondered at the bottom of this
page, why The Continental Gin artists would name their latest open
house after the Good Latimer Tunnel art project.
I learned that they had just before we talked
with Frank Compagna, who organized Tunnel Vision all
those years (and now directs Kettle Art at 2714 Elm Street), and he
didn't recognized any of the artists as ever participating in tunnel
art. We were baffled.
All during Anna's and
my tour through the Gin studios Saturday, I kept wondering why the name,
hoping I'd find some display of tunnel art or something approximating
it somewhere among all those studios and hallways.
After we'd visited friends, seen their new art,
found a couple artists to gush over and others to push out of our minds,
we walked down the long front dock and entered the last door on the
far left of the old gin building.
Across the hall from a pleasant guy working at
a table with his door open and almost nothing on his bright white walls
was "the Revolution Gallery," with a short showing of some
of the building artists' work marking the tunnel's demise.
Glad we made it that
far. We were already late, and tired.
Carolyn Ometz - Progress, 2006 - mixed media
at these pieces and remembering fragments
of conversation with Donna Ball who'd just showed us her seriously diminished
back yard, and Fannie Brito who'd emailed about it before, it finally
dawned on me why.
The tunnel is close — only
a few blocks away, the former gateway to Deep Elm. Plus, it's another
extension of the same community. Visual artists — kinship.
When we'd driven through what was left of the
tunnel earlier, it was literally being filled up and commercial real
estated over. All that history and free visual art buried.
Marsha Oliver Mosher - Tunnel Vision, 2006
- mixed media collage
Last month, the fence along the back of the Continental
Gin building was unceremoniously and without warning to the residents
who used that space to rest and relax and recreate, bulldozed away,
canceling what little security those artists had there. Where a medium-security
fence had been, now was a cement moat.
Like I said, a certain kinship. —JRC