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Do it for the 'gram, ma'am

DFW art museum's snappy new exhibition is a 19th-century Instagram feed

Stephanie Allmon Merry
Jul 22, 2020 | 12:13 pm

While Dallas museums remain closed, Fort Worth art institutions have reopened their doors to visitors, and there's an exciting new exhibition opening next month that is sure to be worth a drive to the west side of the Metroplex. The Amon Carter Museum of American Art will unveil "Acting Out: Cabinet Cards and the Making of Modern Photography" on August 18.

It will be the first in-depth examination of a 19th-century photographic phenomenon called cabinet cards, which were basically a direct ancestor to selfies. Think: 19th century meets Instagram.

"Charting the proliferation of this underappreciated photographic format, 'Acting Out' reveals that cabinet cards coaxed Americans into thinking about portraiture as an informal act, forging the way for the snapshot and social media with its contemporary 'selfie' culture," the Carter says in a release.

The exhibition will display hundreds of photographs — many seen publicly for the first time — from collections nationwide and the Carter’s own massive photography collection.

“This exhibition harnesses the resources of our vast photography collection and archive to show visitors the contemporary relevance of the medium’s pre-modern history," says Carter executive director Andrew J. Walker in the release.

They further explain the history of cabinet cards like this:

"In the second half of the 19th century, cabinet cards gave birth to the golden age of photographic portraiture in America. Measuring 6 1/2 by 4 1/4 inches, roughly the size of the modern-day smartphone screen, they were three times larger than the period’s leading photographic format. This larger size revealed previously obscured details in the images captured, encouraging action-ready gestures and the introduction of an astonishing array of props. Where photographs had once functioned as solemn records of likeness and stature, cabinet cards offered a new outlet for entertainment and remembering life’s everyday moments."

Cabinet cards prompted subjects of photos to become more comfortable with having their portrait made — and then to take their own photos as records of their lives.

"By the time Eastman Kodak introduced its new affordable Brownie camera in 1900, cabinet cards had primed Americans to photograph every aspect of their lives," the museum says. "Though produced over 100 years ago, cabinet cards have a familiarity and a levity that resonates with our experience of photography today."

The display will be divided into four parts, chronicling the birth and evolution of the cabinet card, all the way to Americans’ acceptance of the camera as a tool for shared amusement.

“In our current moment of ‘selfie’ culture and social media-centered interaction, understanding the history of self-presentation and portraiture is more prescient than ever,” says John Rohrbach, senior curator of photographs at the Carter. “This exhibition reveals how 19th-century Americans approached photography far more playfully than ever before, a transformation that forever shifted our relationship to the medium.”

"Acting Out: Cabinet Cards and the Making of Modern Photography" was organized by the Carter and will be on view August 18-November 1, 2020. Then it will travel to the Los Angeles County Museum of Art.

The Carter reopened to the public June 19 after its months-long coronavirus shutdown. It was the first major DFW museum to reopen; Dallas museums have chosen to remain closed but have announced guidelines for how they will safely reopen when the time comes.

The Carter has implemented new health and safety guidelines amid the COVID-19 pandemic, including the wearing of masks and social distancing measures.

For more information, visit the museum's website.

Benjamin J. Falk, New York, NY, Helena Luy, 1880s.

Acting Out: Cabinet Cards and the Making of Modern Photography
Photo courtesy of Amon Carter Museum of American Art
Benjamin J. Falk, New York, NY, Helena Luy, 1880s.
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GIFTED AND TALENTED

SMU historian Ariel Ron wins prestigious $800k MacArthur genius grant

Brandon Watson
Oct 2, 2026 | 10:36 am
Ariel Ron
Photo courtesy of the John D. and Catherine T. MacArthur Foundation
SMU historian Ariel Ron will receive $800,000 — no strings attached.

Three Texans have been named 2026 MacArthur Fellows, one of the most prestigious honors in the U.S. for artists, scientists, and scholars. Among them is Dallas historian and author Ariel Ron, who directs the Clements Center for Southwest Studies at Southern Methodist University.

San Antonio's Vincent Valdez and San Marcos-based anthropologist Kate Spradley were also on the 2026 list of 20 recipients of the “genius grants” given by the John D. and Catherine T. MacArthur Foundation. Each fellow will receive $800,000 over five years, with no strings attached.

Individuals do not apply for the honor. The grants are awarded via a confidential, multi-step process managed by the foundation, and many recipients express surprise that they were considered for the fellowship.

“While individuals will have a track record of significant achievement, the fellowship is not a lifetime achievement award — it is an investment in a person's originality, insight, and potential,” wrote MacArthur on its website. “The Fellows Program is proactively working to foster and enable innovative, imaginative, and ground-breaking ideas, thinking, and strategies.”

Ron's research focuses on how Northern agriculture shaped economic growth and federal power in 19th-century America. Grassroots Leviathan: Agricultural Reform and the Rural North in the Slaveholding Republic, his 2020 book, challenges the notion of an industrial North versus an agrarian South.

"My approach is to identify and look carefully at things that everyone knows to be important but are somehow too obvious-seeming to look at closely," Ron says in a video on the MacArthur Foundation's website. "If you scratch the surface a little bit, you discover that there are a lot of interesting things that might change the way we think about bigger questions."

Valdez, who splits his time between San Antonio and Houston, is known for large, hyperrealistic drawings and paintings of Mexican American life. More recently, he has turned his focus to broader sociopolitical issues in works like The Strangest Fruit, a series of paintings confronting the lynching of Latinos.

At Texas State University in San Marcos, forensic anthropologist Spradley founded Operation Identification in 2013 — a program that identifies and repatriates the remains of migrants who died along the Texas-Mexico border. She is also a cofounder of the Forensic Border Coalition, which pushes for policy changes at the local and national levels. Spradley is the school’s first MacArthur Fellow.

A full list of the 2026 MacArthur Fellows can be found online.

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