UNEASY - Chris Buck - Books
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CHRIS BUCK — BOOKS
UNEASY
PORTRAITS 1986 - 2016
(2017)
UNEASY is a book of Chris Buck’s portraits of the
famous from 1986 to 2016. It constructs a road map of
contemporary culture, featuring a range of subjects from
varied disciplines, including Barack Obama, Lena Dunham,
Margaret Atwood, Snoop Dogg, Willie Nelson, Steve
Martin, Philip Seymour Hoffman, Jay Z, Cindy Sherman,
and Donald Trump.
The Stories section of UNEASY features over a hundred
behind-the-scenes anecdotes by the photographer.
Cover Image, Joaquin Phoenix
DETAILS
Photographer: Chris Buck Hardcover Publisher: Norman Stuart Publishing
Foreword: Sheila Heti 9.5 x 13 inches Release Date: February 2017
338 photographs
Design: de.MO 484 pages, 129 stories
SUBJECTS
John Cale, 1986 Joel-Peter Witkin, 1989 Miss Manners (Judith Martin), 1992
Steve Albini, 1987 William S. Burroughs, 1989 Jeff Buckley, Gary Lucas/Gods & Monsters, 1992
Slow, 1986 Hank Ballard, 1989 Marisa Tomei, 1992
Graham Stewart, 1986 John Kenneth Galbraith, 1990 Quentin Tarantino, 1992
They Might Be Giants, 1986 Hal Hartley, 1989 Errol Morris, 1992
John Lydon, 1986 Adrienne Shelly, 1990 Morrissey, 1992
Hüsker Dü, 1987 Thomas McGuane, 1990 Trent Reznor/Nine Inch Nails, 1992
Pussy Galore, 1988 Spalding Gray, 1990 Frances Ford Coppola, 1992
Harvey Pekar, 1988 Ice-T, 1989 Sally Mann, 1992
Anton Corbijn, 1987 Chuck D, Public Enemy, 1991 Mark Morris, 1992
Mark E. Smith/The Fall, 1986 Cowboy Junkies, 1990 Neil Young, 1992
Volcano Suns, 1988 Richard Linklater, 1991 Conan O’Brien, 1993
Public Enemy, 1988 Carolee Schneemann, 1991 Adam Sandler, 1993
Keanu Reeves, 1988 The Pixies, 1990 Umberto Eco, 1992
Tiny Tim, 1988 Christina Ricci, 1991 Pete Rock, 1993
Dennis Hopper, 1990 Billy Corgan/Smashing Pumpkins, 1991 Elvis Costello, 1994
Nick Cave, 1989 Robertson Davies, 1991 Liz Phair, 1994
UNEASY CHRIS BUCK
Chris Farley, 1994 Jim Carrey, 2001
Puff Daddy, 1997
Joey Ramone, 1994 Peaches, 2001
Ken Griffey Jr., 1997
Robert Frank, 1994 Leonard Cohen, 2001
Richard Leacock, 1998
John Singleton, 1993 Lou Reed, 2002
Beth Gibbons/Portishead, 1997
Julia Child, 1994 W.G. Sebald, 2001
Dolly, 1997
Vint Cerf, 1994 Tina Fey, 2001
Frederick Wiseman, 1997
John Woo, 1994 Stephen King
Maurice Sendak, 1997
Terence Stamp, 1994 Robert McNamara, 2001
Allen Ginsberg, 1996
Spike Jonze, 1994 Sarah Silverman, 2002
Gary Oldman, 1998
Johnny Depp, 1994 Bob Schieffer, 2002
Rick Moody, 1997
Joaquin Phoenix, 1995 TLC, 2002
Elliott Smith, 1998
Al Green, 1995 Jeff Mangum/Neutral Milk Hotel, 2001
Missy Elliott, 1998
Walter Mosley, 1994 Buzz Aldrin, 2002
Tori Amos, 1998
Robert Kennedy Jr., 1995 Scott Stapp/Creed, 2002
Upright Citizen’s Brigade, 1998
Martin Amis, 1995 George Clooney, 2002
Jay-Z, 1998
Robert McNeil, 1995
The Undertaker & Vince McMahon/World
David O. Russell, 1995
Wrestling Entertainment, 1998
F.M. Cornog/East River Pipe, 1995
Eddie Izzard, 1998
Brooks & Dunn, 1994
Robert Bork, 1998
Wong Kar-wai, 1995
Michael Bloomberg, 1998
The Fugees, 1996
Jesse Camp, 1998
Julianne Moore, 1995
Mr. Show, 1998
Joan Jett, 1995
George W. Bush, 1999
Todd Haynes, 1995
Lisa Kudrow, 2000
Ewan McGregor, 1996
Wayne LaPierre, 2000
Janeane Garofalo, 1996
Eminem, 1999
Philip Johnson, 1996
Robbie Williams, 1999
Arianna Huffington, 1996
Elmore Leonard, 1998
Jon Stewart, 1996
Andy Dick, 1999
Anita Roddick/The Body Shop, 1996
Laurie Moore, 1999
Questlove/The Roots, 1996
Salman Rushdie, 1999
Willie Nelson, 1996
Maya Lin, 2000
Ethan & Joel Coen, 1996
Philip Seymour Hoffman, 1999
Michael J. Fox, 1996
Tammy Feye Messner, 2000
Eric Lindros/Philadelphia Flyers, 1996
Russ Meyer, 2000
Cal Ripken Jr., 1996
Elizabeth Wurtzel, 1998
Lilo Baur, 1996
Casey Affleck, 2000 Steve O/Jackass, 2002
George McGovern, 1996
Malcolm Gladwell, 2000 Rudy Giuliani, 2002
Katherine Graham, 1996
Neko Case, 2000 Mickey Rourke, 2002
Moby, 1996
Philip Seymour Hoffman, John C. Reilly, 2000 Spike Lee, 2002
Chris Rock, 1997
Mary Tyler Moore, 2000 Chloe Sevigny, 2003
Danny Boyle, 1996
Margaret Atwood, 2000 Peter Fonda, 2003
Chan Marshall/Cat Power, 1997
Red House Painters, 2000 Ivanka Trump, 2003
Connie Britton, 1997
John Waters, 2000 Robert Downey Jr., 2003
Pat Boone & Moby, 1997
Bjork, 2000 Katie Holmes, 2003
Jonathan Taylor Thomas, 1995
David Hasselhoff, 2000 The Rapture, 2003
The Spice Girls, 1997
James Caan, 2000 Devendra Banhart, 2003
Pat Buchanan, 1996
Gillian Anderson, 2000 D.A. Pennebaker & Chris Hegedus, 2003
Daniel Patrick Moynihan, 1997
Kato Kaelin, 2001 Ozzy Osbourne, 2003
Dee Dee Meyers, 1996
Ike Turner, 2001 George Lois, 2003
David Sedaris, 1997
Mark Eitzel, 2001 John Mayer, 2003
John Cusack, 1997
Billy Joel, 2001 David Sylvian, 2003
Gary Indiana, 1997
The Flaming Lips, 2002 Alan Cumming, 2003
Ian McCulloch, Echo & The Bunnymen, 1997
Sofia Coppola, 2000 Paul Verhoeven, 2003
Chan Marshall & Bill Callahan, 1997
David Rakoff, Amy Sedaris, 2001 Paul Frank, 2003
Bill Callahan/Smog, 1997
Billy Bob Thornton, 2001 Dave Matthews, 2003
Cindy Sherman, 1997
UNEASY CHRIS BUCK
The Strokes, 2003 John Krasinski, 2006 George Stromboulopoulos, 2012
Adam West, 2003 Donn Pearce, 2005 Seth MacFarlane, 2012
Cindy Sherman, 2003 Timbaland, 2006 Jimmy Page, 2012
David Byrne, 2004 Donald Trump, 2006 Tori Spelling, 2013
Lady Jaye & Genesis P-Orridge, 2003 Carlos Fuentes, 2006 Alan Simpson, Grover Norquist, 2013
Ryan Adams, 2003 Andy Samberg, 2006 Sue Paterno, 2013
Gene Simmons, 2004 Nick Cannon, 2006 Vice Office, 2013
Bill Buford, 2006 Andrew Dice Clay, 2013
Christopher Guest, 2006 Maria Chavez, 2013
David Thomas, 2006 Mac DeMarco, 2014
Paul Dano, 2006 Barack Obama, 2013
Harry Dean Stanton, 2006 Jimmy Kimmel, 2013
Kevin Smith, 2006 Ted Cruz, 2013
David Lynch, 2006 Nick Offerman, 2013
Seth Rogen & Paul Rudd, 2007 Abbi Jacobson, Ilana Glazer/Broad City, 2014
Rainn Wilson, 2007 James Frey, 2014
Jim Cramer, 2007 Lena Dunham, 2014
Anthony Bourdain, 2007 Don Lemon, 2015
Bryan Ferry, 2007 Tegan and Sara, 2014
Masaharu Morimoto, 2007 Jimmy Fallon, 2013
Zach Galifianakis, 2007 Wale & Jerry Seinfeld 2014
Snoop Dogg, 2008 Susan Sarandon, 2015
James Blunt, 2007 Kendrick Lamar, 2015
Nas, 2007 Kristen Stewart, 2014
Vice Founders, 2007 Bob Odenkirk, 2014
Ringo Starr, 2007 Benedict Cumberbatch, 2014
Bryan Cranston & Jon Hamm, 2007 A$AP Rocky, 2015
Marc Newson, 2007 Ingrid De La O & Neil Strauss, 2015
James Gandolfini, 2004 Rob Corddry, 2008 Sarah Wilmer, 2015
Martin Short, 2004 Adam Yauch, 2008 Paul Giamatti, 2015
Wes Anderson, 2004 Ingrid Newkirk, 2008 The Grumpy Cat, 2015
Ray Harryhausen, 2004 The Fiery Furnaces, 2007 Yo Yo Ma, 2015
Javier Bardem, 2004 Barney Frank, 2008 Tory Burch, 2016
Hugh Hefner, 2004 Nick Cave, 2008
Eliot Spitzer, 2004 Hulk Hogan 2008
William F. Buckley Jr., 2004 Harold Ramis, 2009
Carl Hiaasen, 2004 “Weird Al” Yankovic, 2008
Jerry Stiller, 2005 Jay Leno, 2009
Larry Fink, 2004 Jeb Bush, 2009
Demetri Martin, 2004 The Lonely Island, 2009
Jonathan Safran Foer, 2004 Elizabeth Warren, 2009
David Cronenberg, 2005 Judd Apatow, 2009
Rob Thomas, 2005 JJ Abrams & Bad Robot, 2009
Rivers Cuomo/Weezer, 2005 Aziz Ansari, 2010
George Clinton, 2005 Jim Parsons, 2010
Will Smith, 2005 Ayaan Hirsi Ali, 2010
Tony Curtis, 2005 David Cross, 2010
Philip Lorca diCorcia, 2005 George H. W. & Barbara Bush, 2010
Elliott Erwitt, 2005 Louis C.K., 2010
Steve Martin, 2005 Steve Coogan, 2009
William Shatner, 2005 Mel Brooks, 2010
Michael Pitt, 2005 Simon Cowell, 2011
Alejandro Jodorowsky, 2005 Rahm Emanuel, 2011
Steve Carell, 2005 Jesse Eisenberg, 2011
Werner Herzog, 2006 Desmond Tutu, 2009
David Fincher, 2006 Michele Bachmann, 2011
Lili Taylor, 2006 Trey Parker & Matt Stone, 2011
UNEASY CHRIS BUCK
INTRODUCTION — HOW UNEASY? by Sheila Heti I told Chris Buck I would write the introduction to his book, on one condition: that he print a photograph from our naked photo shoot of 15 years ago. Let me backtrack. In the mid-1990s, Chris Buck was living in New York. I was living in Toronto, his hometown, where he often visited. There was a professional photography studio down on Spadina Avenue where photographers could develop their pictures: imagine the darkest hallway, flanked up and down by little developing labs, each with its own timer and projecting lamp and red light. You’d expose your photographic paper, then leave your cubby and walk down the hall and slip your exposed paper into a machine in the wall, and wait 60 seconds for it to come out. No messing with chemicals. It felt so futuristic. It probably felt more futuristic at the time than cell phone cameras feel today. I developed pictures there, Chris developed pictures there, everyone did. However it can happen in a totally dark hallway (or perhaps these things only happen in totally dark hallways), Chris and I struck up some kind of friendship or attraction. He was older than me—in his early thirties then—but he knew photography, and we quickly became friends. Went camping together, had long conversations about art, I wrote a story about him, we might have kissed. Eventually I wanted to take a trip to New York. Since he was the only person I knew there, I stayed with him. The thing I remember best about his spare Chinatown apartment was a Polaroid of the Spice Girls taped to his fridge (the shoot appears in this book). He showed me around town, had me run errands for him in parts of the city I did not know, I got career advice from Malcolm Gladwell at the New Yorker offices, and I interviewed Sassy magazine’s former editor Jane Pratt. It was the trip of a lifetime, except Chris refused to take naked pictures of me. I asked him every day, and every day he put me off. “Why do you want this?” he asked. “Wouldn’t not-naked pictures be just as good, if not better?” No, I wanted naked pictures. Even I didn’t know why it was so important to me. Finally, the morning before I was supposed to leave, with tremendous exasperation, I asked him if he was or was not going to take the pictures, and he relented. * Today, with the internet, it’s a bit harder to understand why women let themselves be photographed or videoed naked by the men they’re sleeping with—it’s just so easy for these things to get around and into the wrong hands. But back then, it was different, there was less of a risk, and the pictures somehow show this. There is something quiet and silent and private about the room—no hint of wider connectivity. And there wasn’t this complex, articulated culture of people taking pictures (naked or not) of themselves or each other—I didn’t know how to pose to make myself look good, as I know today. I had no audience of hundreds of friends in mind, as I do with pictures today. There was not yet a culture of people who got naked to become famous, or shot themselves all the time to be more famous. Being naked before Chris’s camera had nothing to do with making pornography—it had to do with a kind of daring intimacy, or with living a somewhat exotic life, a life of sadness and depth and strangeness. The pictures look like they’re from a time in history without so many windows and screens—a slightly claustrophobic world, where all that exists is what you can touch. * Six months after my visit, in a large grey envelope, Chris sent me four photocopied pages of the test strips from our shoot. “Kodak TX 6043” can be read along the strips of the black-and-white images (24 in all), and “Kodak PMC 6059” runs along the edges of the color exposures. He used a Hasselblad, which impressed me then. His printed return-address sticker featured two cuddly teddy bears. In many of the shots, my nudity is topped off with a woolen winter hat—I think because I really liked the hat. In some of the pictures, I’m completely naked, but in others I’m staring at the camera with a genuinely angry expression, wearing pants. In one, I am lighting a cigarette, while only wearing pants. In another, I am wearing a T-shirt and pants, and look aggravated, as if impatient to take off my clothes and upset that it’s all taking so long. The pictures are somewhat weird. In one image, Chris poses with me, blurrily entering or exiting the frame. I don’t UNEASY CHRIS BUCK
know if this double portrait was his idea or mine. If it was mine, it wouldn’t have come out of love or liking, but out of fear or anger at the fact of the photo shoot—of course I felt angry, a little bit; of course I felt scared, a little bit—I wanted it nonetheless. My twenties were full of these paradoxical impulses and desires. I remember Chris directing me as I imagine he would any subject—not lasciviously, just professionally, dispassionately, and not directing me into sexual poses, just odd ones. Can you bend your elbow and rest it against the wall?—the kinds of gestures a choreographer of modern dance might ask a dancer to try out. Even in front of the camera, I knew it would look awkward, uneasy, unnatural, strange—that the composition would pull the eye. Chris had marked 6 of the 48 pictures with a blue crayoned X. I remember hating his choices at the time, but now I’m not sure why. I think I was hurt that he didn’t single out the prettier pictures. The pictures Chris liked had a certain visual composition or harmony that was pleasing—he liked the shapes. But I wanted to be seen for my beauty, not my sculptural properties. More than anything else, the pictures he took of me are true portraits; they reveal how angry and sad I was at the time, how utterly alone. The nudity is incidental. Like so many of the images in this book, they show a person not entirely at home in the world. I wasn’t at home in the world at the time—my early twenties—but as I look through the history of Chris’s work, I think the sense of awkward displacement that the images show had as much to do with him—how he has felt all his life—as with me. So many of the people he photographs have an uneasy relationship to the camera, the environment, to their bodies. The unease is theirs, but it’s his as well. I didn’t say anything, though. I felt grateful he had sent the pictures at all, for we had never discussed them again. In fact, I was lying when I wrote “I told Chris Buck I would write the introduction to his book, on one condition: that he print a photograph from our naked photo shoot of 15 years ago.” He had no idea I was going to write about this shoot until he opened the Word file I sent to him. We have never discussed this shoot before. He did, however, say to me, in his characteristic raspy voice, over the phone, when we were discussing the introduction to this book: “Sheila, the book is called Uneasy, so if your piece makes me uneasy, that’s okay. That’s good.” Is it okay, Chris? I knew instantly that I wanted to write about this experience, even though he shot me many other times, and even though I have so many thoughts about his work, and about him. Over the years, as Chris often reminds me (appreciatively), I have been both enthusiastic and critical of his work, just as he has been enthusiastic and critical of some of my choices. It’s quite rare to have friends, especially artist friends who won’t separate themselves from you—slightly, and a bit hurt—if you don’t react with enthusiasm to everything they’ve done. At times I’ve thought Chris’s work was too clever, too much about a gimmick. But at other times I’ve found his pictures deeply memorable, straightforward and empathic and even quite beautiful: there’s that shape thing again. The bodies almost always have a memorable shape, or the room memorably shapes itself around the bodies. * In the years since the shoot, Chris and I have remained friends; I remember when he was courting the woman who has become his wife. I remember all the times he tried to convince me to leave Canada and move to the States, and (in a genuinely helpful, mentorish sort of way) how he used to tell me to embrace my ambition. In Canada, that’s a hard thing to do. We used to argue about this—he wanted me to realize that ambition was not a dirty word. In the end, he mostly convinced me. Many of the people Chris photographs are artists who appear naked before the world—showing who they really are through the music they make, the parts they play, the books they write, their jokes. Eminem with his head in an aquarium, Chris Farley standing there modestly in an undershirt, Billy Joel holding an applause sign on his lap—all these pictures say the same thing: that there’s an embarrassment associated with being an artist, a wanting to hide and disappear behind the art; to be forgotten as a person, and not seen. But of course, paradoxically, there they are in front of Chris’s camera, which is the opposite of hiding. I love the balance of hiding and showing, ease and unease, in all these portraits. I think I wanted to write about our photo shoot because never in my life had I felt those two things as keenly and as simultaneously as I did then: look at me, don’t look at me. Show me, don’t show me. I’m proud. I’m ashamed. UNEASY CHRIS BUCK
SELECT IMAGES Desmund Tutu Billy Joel Lena Dunham Donald Trump William F. Buckley, Jr. Steve Carell UNEASY CHRIS BUCK
SELECT STORIES
Carolee Schneemann, 1991 Tina Fey, 2001
I arrive alone to Carolee’s country home in New Paltz, I think that I knew that Tina Fey had a scar on her face
NY. I often ask subjects for location suggestions in their before I met her at the shoot but I didn’t realize how
area, with low expectations, but it this case it paid off prominent it was. I was a total fan of her as a Saturday
and she takes us to her neighbor’s swimming pond. As Night Live Weekend Update host. Smart, sharp, funny,
we approach the edge she disrobes completely and and very cute in those black-rimed glasses. I thought
steps into the water. I’m surprised but follow her lead that the scar was super cool too, and sexy, so I wanted
(I’m not sure of upstate swimming hole etiquette). Of to show it in the portrait.
course I’m still in shoot mode so I’m walking around
the pond fully naked carrying as much camera gear as As my assistant was setting up the lighting Tina was
I can. getting her make-up done, so dropped by the exchange
a few words, as I will typically do. After a couple of
Camera in hand I join her in the water and we shoot minutes I couldn’t resist and I asked about the scar. She
for a while. As we climb out of the pond, both still told me about how as a little girl upon answering the
undressed she looks at me and asks, “So, you have red front door of her home a stranger cut her face with a
hair in your family?’ knife. I couldn’t tell if she was being funny, or trying to
shock me. She didn’t laugh or smile after she told me
this, so I just took it at face value.
Philip Seymour Hoffman, 1999
When I’d see articles about her subsequently there was
I did three sittings with Philip Seymour Hoffman but it’s a different explanation for the scar, but then seven years
the time that I had a random lunch with him a couple later in a much-hyped Vanity Fair interview she talked
of years after working together that I find myself about the episode as she told me, but in greater detail.
thinking about.
Running errands on a spring Saturday I popped into President Barack Obama, 2013
a hot dog joint on Lafayette, just south of Bleecker.
A minute after I placed my order at the corner Philip This is arguably the most important sitting of my career
came in. The place was almost empty, so I went up and it lasted 4 minutes, 22 seconds, and 11 milliseconds
and said hello. He recognized me right away and was (someone from the White House timed it on a stop-
friendly, if low-key. watch).
We sat down and ate. He had a cheeseburger and I The President came in, shook everyone’s hand then
had two hot dogs wrapped in bacon, with hot sauce. went to where our seamless was set up. I saw that he
was chewing gum so I asked, “Sir, are you chewing
During our conversation I congratulated him on his gum?” He said “Don’t worry, I’ll take care of it.” I said,
Best Actor Oscar for “Capote”, which he had received “Well, if I see it again I’ll be talking to you about it.”
only days before. I told him that he can’t now go off
and do stupid big-budget action movies (a common The magazine had worked out three set-ups for us with
misstep by past winners). He chewed his sandwich for the White House. The first was relatively tight, with the
a couple of seconds and then told me that his next President facing straight into the camera. The second
picture was “Mission Impossible III”. was a classic three quarter portrait, with him looking off,
and the third was pulled back, showing the full lighting
and seamless set up in the Map Room.
A few frames into the second set up I said, “Sir, keep
your head position but look with your eyes to the
camera.” He indeed followed my direction but said,
“I don’t do that.” I shot anyway. I felt like I’d spent the
first 25 years of my career preparing to defy a sitting
President to get the shot that I wanted.
UNEASY CHRIS BUCK
SELECT QUOTES
“The elements of a classic Chris Buck portrait are “Among the photographs in Uneasy are several iconic
instantly recognizable and often unforgettable: bold portraits, including Buck’s 2005 photographs of Steve
colors, crisp lighting, and simple yet slightly bizarre Martin and Steve Carell. But so many of Buck’s portraits
scenarios. The Toronto-born and bred photographer stand out, and the collection is notable for its range
has a way of capturing iconic figures in the most and variety. He reveals his process through amusing
unconventional, almost dreamlike settings. It’s hard to and informative anecdotes about more than 100 of the
imagine Jay-Z working a fast food joint, Gary Oldman portraits. Buck plans his shoots, showing up with props
with pie on his face, or Billy Bob Thornton p’ssing on a and requests, but he also thinks on his feet and leaves
backdrop (alright, that last one is pretty believable). things open to chance.
[His] signature uneasiness, more than 300 examples He gets people to reveal their vulnerability, in part
of it, has been packaged in a book aptly titled Uneasy because he’s unafraid to reveal his own. (He seems to
released earlier this year. Each page will leave you A) delight in recounting some of his most embarrassing
awestruck, B) scratching your head, or C) wondering moments on set.) Buck also has a lot of moxie, and a
why anyone would agree to pose like that.” keen sense of just how far he can push things. When
Barack Obama arrived on set chewing gum, Buck
— John Lockett, GQ mock-scolded him. During the shoot, he directed the
president to give a sidelong look at the camera. Buck
recounts: ‘[Obama] said, ‘I don’t do that.’ I shot anyway.
“If you’re into portrait photography at all, this book is I felt like I’d spent the first 25 years of my career
a must for you as Chris Buck is a genius at creating preparing to defy a sitting president to get the shot that
photos that stick in people’s minds. He is a past I wanted.’”
master at coming up with inventive, offbeat ideas,
and his subjects respond perfectly. Gary Oldman is — David Walker, Photo District News
caught with pie on his face. The late and great James
Gandolfini, best know for his leading role in the The
Sopranos, bends over to reveal his ‘best side.’ Lena “He’s known for taking portraits that are striking, tossing
Dunham ‘collaborates’ with a playground swing set. aside the veneer of celebrity and portraying his subject
And Buck reveals a lot of these backstories at the end in ways that seem to strip them down to reveal their
of the book, adding an extra benefit to what is already humanity. The results are often hilarious and sometimes
an excellent volume.” haunting.”
— Michael Weinzetti, Luerzer’s Archive — Hans Rosemond, Fstoppers
SELECT AWARDS
2017 2018 2018
Mother Jones Magazine Communication Arts American Photography
The 10 Most Captivating Books Photography Annual 59 American Photography 34
of The Year
UNEASY CHRIS BUCK
SELECTED PRESS LINKS UNEASY CHRIS BUCK
Events February 10, 2017 - March 1, 2017 Exhibition of prints from Uneasy Show Reception, February 10, 2017 Krause Gallery, NYC February 16, 2017 Talk and signing Annenberg Space for Photography Los Angeles, CA February 17, 2017 Talk and signing Art Center College of Design Pasadena, CA February 22, 2017 Book signing Type Books Toronto, ON February 23, 2017 Talk and signing Open Show Toronto, ON March 16, 2017 - May 10, 2017 Exhibition of every photograph in Uneasy Closing Reception, May 4, 2017 PictureHouse, NYC March 24, 2017 Talk and signing Florida Museum of Photographic Arts Tampa, FL March 26, 2017 Talk and signing Oxford Exchange Bookstore & Cafe Tampa, FL April 19, 2017 Talk and signing The New School / Parsons New York, NY May 17, 2017 New York Film Academy New York, NY June 21, 2017 Talk and signing AIGA Boston, MA UNEASY CHRIS BUCK
ABOUT CHRIS BUCK
Chris Buck is a photographer and director based
in New York and Los Angeles. His portraits have
won placement in the prestigious annual American
Photography over forty times, and he was the first
recipient of the Arnold Newman Portrait Prize.
He has shot advertising for some of the world’s
most recognizable brands including Coca-Cola,
Google, Microsoft, Kia, and TD Bank. A Cannes
Lions Grand Prix was awarded to his controversial
Diesel campaign that invited their customers to
“Be Stupid.”
Chris Buck grew up in Toronto, Canada. His
father worked for the Kodak company, creating
an early and natural connection to photography.
He moved to New York in 1990 and established
himself as a sought-after commercial and editorial
photographer. His current magazine clients
include The New Yorker, Guardian Weekend and
The New York Times Magazine.
He has published two books, Presence: The
Invisible Portrait, Uneasy: Portraits 1986-2016, with
the third, Gentlemen’s Club: Partners of Exotic
Dancers, due Spring 2021.
DOWNLOAD CHRIS BUCK’S CV
Photo: Lou Noble
MORE BOOKS BY CHRIS BUCK
GENTLEMEN’S CLUB PRESENCE
Partners of Exotic Dancers The Invisible Portrait
(Coming Spring 2021) (2012)
Gentlemen’s Club features 40 50 portraits in which the
portrait sittings and interviews with famous subject is not visible.
the partners of exotic dancers. Witness forms verify each
Collected over a six year span, sitting took place.
across North America.
CONTACT
EMAIL WEBSITES SOCIAL
chris@chrisbuck.com chrisbuck.com instagram.com/the_chris_buck
chrisbuckbooks.com thechrisbuck.tumblr.comYou can also read
