Mathews and his associates have been capturing key moments in the development of the Perot Museum from the beginning, when it was first imagined as an expansion project for the Dallas Museum of Natural History more than a decade ago.
me two Otis Dozier paintings hanging on
the walls of his entryway. One was a piece he
dredged from a garbage can. Speaking solely
for myself, I’ve never had a sharp enough
eye to catch a find like that. He also snagged
another piece at a garage sale, a Lloyd Goff
etching of Akard Street. Good catch.
Recently, Mathews has been engaged in
chronicling: the circuitous survival of ba-
roque music that originated with Grover
Wilkins’s Orchestra of New Spain; the Perot
Museum; the 100th anniversaries of both
SMU and Hockaday; the history of the Mead-
ows Museum’s relationship with Spain; and
the list goes on. (And on.) He also enjoyed
showing me a short clip of an older piece he
did on the art of tattooing that was commis-
sioned by Dallas Contemporary. It revealed
a blonde firefighter sporting both rippling
muscles and an elaborate portrayal of Tibetan
deities on his well-buffed body. And from that
he rapidly switched to a documentary about a
remarkable 400-year-old violin obtained by a
student and taken back to its original home
of Cremona, Italy, for a stellar performance.
In other words, the range of subject matter is
a bit staggering. It’s also a great deal of fun.