Not all the photographs are of Carucci or were taken by her. This exhibit is in fact a collaboration with her husband, and since the photos are unlabeled and untitled it can be difficult to discern who did what. The pictures of Carucci obviously are the exception, and some of the more striking photos in this show are of her. The artist’s role has a “director” here certainly lends credibility to call these photos “her” work. She also did all her own work in the darkroom. The question raised here is not only about attribution, but about artistic ego as well.
Whoever took these pictures, they stand on their own. The Russian-made Horizon panoramic camera used for most of the C prints in this exhibit utilizes a rotating lens. This novel piece of equipment encompasses a sweeping view of the action. This is seen to great effect in a shot of a dancer (not Carucci) from behind with gossamer veils extending from underneath her arms like wings, as a crowd surrounds her in exaltation. The neon-like glow emanating from these prints enhances the stagy (and backstage) context of the motif. The darkened nighttime locales lend a chiaroscuro-like effect to the prints, backlighting from spots and colored disco gels amplify the carnivalesque atmosphere.