Mary and Alberto met at the Art Institute of Pittsburg. Mary worked in graphic arts and fashion illustration, and she ran a graphic design company. She was inspired by a book titled A Year to Live. She transitioned to fine arts and opened a studio in Dallas. Mary showed her work and that of others in her Oakcliff studio. In 2000, she moved her studio and gallery to the Design District. This space was a co-op artist gallery under the name of Mary Tomas Studio Gallery.
In 2009 they moved to their current location. Alberto joined the gallery full time a few years later. They rebranded the space as Mary Tomás Gallery. This rebranding also came with a new vision. The gallery began to show national and international artists. Their eye for contemporary art developed rapidly, and they began to work with exciting artists with extraordinary talent. They also curated some thought-provoking exhibitions which caught the attention of the art community at large. I noticed the change and began writing about their shows. The Contemporary Art Dealers of Dallas also took notice and asked them to join their ranks. It was clear to many in the art community that they had moved to high conceptual art with artists who were seeking meaningful and thought-provoking work. Unfortunately, Dallas art scene members sometimes had a hard time seeing their vision. I often thought that they were ahead of the curve.
I noticed the change and began writing about their shows. The Contemporary Art Dealers of Dallas also took notice and asked them to join their ranks. It was clear to many in the art community that they had moved to high conceptual art with artists who were seeking meaningful and thought-provoking work. Unfortunately, Dallas art scene members sometimes had a hard time seeing their vision. I often thought that they were ahead of the curve.
In a phone conversation with Mary and Alberto, they told me some highlights they fondly remember from the gallery. Kenn Kotara came to mind because his work uses braille in the compositions. The work was copper and he allowed people to feel the pieces. Visually impaired individuals were able to experience the art for themselves. Being gallery owners means you have to create partnerships. Working with Martin & Martin Design to install a piece of Kontara’s work at UT Southwestern was one of their most positive experiences. Mary and Alberto were enthusiastic about working with Costa Rican born artist Johannes Boekhoudt. I think his abstract work resonated with them because of his High Modernist style. They also worked with local artists. Their show with Brookhaven professor Chong Keun Chu went international. Chong Keun Chu curated a show with several artists for the gallery and that same show of artists traveled to South Korea.
I wrote about the gallery’s group shows titled Linear Language and Fresh, a solo show about Leslie Lanzotti’s paintings, to name a few. I always enjoyed my visits with them because they were open and friendly even before I was writing reviews. Their energy for running a gallery was infectious. You couldn’t help but get excited when they had a new show installed. I loved it when they invited me to the storage room just to show me a new artist they had discovered. Those Dallas gallery hopping will miss their enthusiasm and dedication to showing great art.
article image: Chong Keun Chu – GARDEN WALKER 3 oil on canvas 60 x 48