Victor Carnuccio (b. 1950) embarked on a remarkable artistic journey that spans several decades and numerous artistic disciplines. His early education included studying ceramics and glass blowing in Guadalajara, Mexico in 1970, followed by drawing and design at Queens College in 1972-3. He later earned a Bachelor of Fine Arts from Pratt Institute in 1979.

Carnuccio’s career began with assisting painter Max Gimblitt from 1971-5. During this period he ventured into stage design, creating sets for “Ghosts and Goddesses” at LaMama, E.T.C. in 1973, and worked as a property designer and special effects creator for “C.O.R.F.A.X.” at LaMama in 1976. His work as a photographer for “Harlequin” at the Open Space in 1978 showcased his versatility.

In 1978, Carnuccio received a commission for a wall painting for the Gabrielle Barrett residence. The following year he traveled to Paris for a photographic project and worked as a graphic studio trainee at Groupement Graphique. His freelance career included notable stints as a graphic designer at Conde Nast Publishing, contributing to Vogue and Bride, and producing visuals for “Ekathrina Sobechenskya Sings Old Russian Folk Songs” at the Pyramid Club in 1982.

From 1979 to 1983, Carnuccio was a staff designer at Ballantine Books, where he created covers for mass-market paperbacks. In 1983, he opened his photography studio at 547 Broadway, New York, and exhibited “Abused Photographs” at Club 57. His visuals were also featured in Ann Magnuson’s “After Dante” at Danceteria and “Molly Bloom Off the Wall” at Terminal New York in the same year.

Carnuccio’s travels took him to Lima, Peru, in 1984, where he studied Spanish and exhibited his work. His exhibition “From Peru” at Tony Jones Gallery in Houston, Texas in 1985, marked another milestone. In 1987, he established RRU Pictures to showcase his photographic works and began contributing to AIDS charities in 1990.

His work was exhibited at prestigious venues such as Paula Cooper Gallery in New York (1990) and included in numerous charity auctions and benefits, including those for Act Up, Visual Aids, and the Human Rights Campaign. Notably, he hosted a fundraiser at RRU Pictures for Act Up titled “Portraits” in 1990, and contributed to “Images of Vanishing Nature” at Transco Gallery in Houston the same year.

Throughout the 1990s and 2000s, Carnuccio’s work was featured in various exhibitions and auctions, such as the Houston Center for Photography, Sotheby’s New York, and the Imperial Court of New York Silent Auction. He continued to produce visuals for prominent events and organizations, including promotional photos for Bloomberg TV, Berlitz Publishing Company, and the Next Wave Festival—BAM.

Carnuccio’s photography was also included in films, such as “House of Boys” (2009), and he participated in numerous group shows and curated exhibitions, including “Supernova Ride” (2009) and “Lions and Lambs” (2009). His contributions to the art community extended to curating and exhibiting works in benefit shows and fundraising events, notably for Visual AIDS and the Human Rights Campaign.

In addition to his artistic endeavors, Carnuccio’s work was published in “Self-Exposure: The Male Nude Self-Portrait” by Reed Massengill (2005). He continued to exhibit his work in various galleries, such as CLAMP, Robert Miller Gallery, and ICO Gallery, and contributed to significant group shows and benefit auctions through 2012.

In recent years, Carnuccio has continued to exhibit his work and contribute to various charitable causes. His works have been showcased in exhibitions such as “Scott Covert: I Had a Wonderful Life” at the NSU Art Museum in Fort Lauderdale in 2022.

Victor Carnuccio’s extensive body of work and his contributions to various artistic fields, including photography, stage design, and visual arts, reflect his dedication to both his craft and the broader community. His journey from his birthplace in Beaver Falls, Pennsylvania to the vibrant art scene of New York and beyond demonstrates a lifelong commitment to artistic exploration and social impact.