Dancer and photographer Steven Caras shines through 'Carasmatic' at the Kravis

WEST PALM BEACH — Steven Caras’ latest installation is especially personal.

The professional dancer and groundbreaking photographer’s “Carasmatic: Through the Lens of a Dancer” is more than a collection of his work documenting the world of dance.

The exhibit, open now on the second floor of the Kravis Center’s Cohen Pavilion from 3 to 6 p.m. Mondays or by appointment, is Caras’ final project in collaboration with his closest friend of many years, Susan Bloom, who died at age 86 on Nov. 28 after a brief illness.

Bloom, an original founding member of The Kravis Center, was one of Caras’ chief supporters, from his time as photographer and director of development with Miami City Ballet through his current work as a keynote speaker, photographer and educator. She’d been familiar with his dancing and with his photography many years before they met.

When the Kravis Center reached out to Caras last year to have an exhibition of his work, he jumped — or perhaps it was more of a jeté — at the opportunity.

He took on the challenge to redefine the second-floor foyer and hallway of the Cohen Pavilion into a world-class exhibition space. He and Bloom chose neutral paints for the walls and only black-and-white images, seeing them as a better fit for the rather tight quarters.

“In general, I prefer black-and-white,” Caras said. “I believe it inspires the viewer to dig deeper into his or her imagination. In addition, particularly with dance photographs, black-and-white images appear more timeless.”

The sole photograph displayed in color in the installation is Caras’ “Last Bow,” his famed picture of legendary New York City Ballet choreographer George Balanchine’s final curtain call.

Caras captured the moment on July 4, 1982, from a balcony above the stage as Balanchine moved through parted, shimmering curtains. Audience members cheered while company dancers applauded him from behind.

The photos included in “Carasmatic” span Caras’ career, from his time as a dancer and photographer for the New York City Ballet, to his current work with dance companies and institutions around the country.

Caras was 18 years old when he was selected by Balanchine to perform with the New York City Ballet. Eventually showing a penchant for capturing images of his fellow dancers both on stage and behind the scenes, Balanchine gave Caras carte blanche to photograph the company.

“Soon after purchasing my first camera, Mr. Balanchine noticed my fascination,” Caras said.

Then and there he gave Caras permission to document the New York City Ballet, setting Caras on a new course in life.

“I want to see what you see!,” Balanchine generously announced, Caras recalled.

And so have countless others ever since.

New York City Ballet co-founder Lincoln Kirstein once said that great dance images must “suggest previous and subsequent motion.” Caras’ shots do just that. The dancers appear suspended in space and time, like they may fall right out of the images and continue with their performances.

Choosing the photos for “Carasmatic” proved a challenge, as Caras was forced — as he is with each exhibition or request for a photo — to pare down his 120,000-image catalog, zeroing in on far fewer. “I have a hard time as my own editor,” he said.

As the basis for his installation at the Kravis Center, Caras used a selection of black and white photos from a 2019 exhibition at Vassar College in New York, where he was artist in residence.

Bloom helped Caras select many additional images for the Kravis installation. Caras said he always welcomed her involvement in his work, because as a former gallery owner and overall art expert with impeccable taste, she had an innate sense for placement, light, and space.

Toward the end of planning “Carasmatic,” Caras had 14 photos left to display and was stuck on where and how they should be presented. “At a wildly rapid pace, Susan arranged an entire wall to the right of the entrance with those very images,” Caras said.

The goal was to incorporate moments from his collection that would appeal to viewers, whether or not those viewers were familiar with the technical aspects of dance. “I wanted to make choices that people would find compelling, even if dance was of no interest to them,” Caras said. The images represent a diversity in styles of dance, even within one company in certain cases, he said.

On opposing sides of a long hallway, the exhibition balances the use of prints and clings, the latter of which adhere to the wall without a frame. “We felt this contrast would allow relief to the eye,” Caras said. “Otherwise, both walls with framed photographs might have been too heavy,” he said.

The entire team at the Kravis Center collaborated with Caras to bring “Carasmatic” to life. “It was a building process, and a discovery process too,” he said. “And it was a great experience to work with these very talented people.”

If you go

What: "Carasmatic: Through the Lens of a Dancer"

When: 3 to 6 p.m. Mondays or by appointment by calling 561-651-4200

Where: Kravis Center for the Performing Arts, second floor of the Cohen Pavilion, 701 Okeechobee Blvd., West Palm Beach

About the artist: It’s been said that Steven Caras defines “Renaissance man.” He’s danced, he photographs, he teaches, he raises money for Rosie O’Donnell’s Rosie’s Theater Kids in New York City, he is a guest speaker and he is completing his memoir. Caras is the subject of the Emmy-winning documentary “Steven Caras: See Them Dance,” which aired on public television stations nationwide for three years. To see the documentary, Caras’ TEDx Talk or for more information, go to www.stevencaras.com.

This article originally appeared on Palm Beach Daily News: Dancer and photographer Steven Caras shines through 'Carasmatic' at the Kravis