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Home , Adam Yauch, Billy Bob Thornton, Bob Odenkirk, Chris Farley, Eddie Izzard, Elizabeth Wurtzel

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 , Lena Dunham, Margaret Atwood, , , , , Jay Z, Cindy Sherman, and .

The Stories section of UNEASY features over a hundred behind-the-scenes anecdotes by the photographer.

Cover Image, Joaquin

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 , 1987 William S. Burroughs, 1989 Jeff Buckley, Gary Lucas/Gods & Monsters, 1992 Slow, 1986 Hank Ballard, 1989 , 1992 Graham Stewart, 1986 John Kenneth Galbraith, 1990 , 1992 They Might Be Giants, 1986 Hal Hartley, 1989 Errol Morris, 1992 John Lydon, 1986 Adrienne Shelly, 1990 , 1992 Hüsker Dü, 1987 Thomas McGuane, 1990 /, 1992 Pussy Galore, 1988 Spalding Gray, 1990 Frances Ford Coppola, 1992 Harvey Pekar, 1988 Ice-T, 1989 Sally Mann, 1992 , 1987 Chuck D, Public Enemy, 1991 Mark Morris, 1992 Mark E. Smith/The Fall, 1986 Cowboy Junkies, 1990 , 1992 , 1988 Richard Linklater, 1991 Conan O’Brien, 1993 Public Enemy, 1988 Carolee Schneemann, 1991 , 1993 , 1988 The Pixies, 1990 Umberto Eco, 1992 Tiny Tim, 1988 , 1991 Pete Rock, 1993 , 1990 Billy Corgan/Smashing Pumpkins, 1991 Elvis Costello, 1994 Nick Cave, 1989 Robertson Davies, 1991 , 1994

UNEASY CHRIS BUCK , 1994 , 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 , 2002 Beth Gibbons/Portishead, 1997 Julia Child, 1994 W.G. Sebald, 2001 Dolly, 1997 Vint Cerf, 1994 , 2001 Frederick Wiseman, 1997 John Woo, 1994 Stephen King Maurice Sendak, 1997 , 1994 Robert McNamara, 2001 Allen Ginsberg, 1996 , 1994 , 2002 , 1998 , 1994 Bob Schieffer, 2002 Rick Moody, 1997 , 1995 TLC, 2002 Elliott Smith, 1998 Al Green, 1995 Jeff Mangum/Neutral Milk Hotel, 2001 Missy Elliott, 1998 Walter Mosley, 1994 Buzz Aldrin, 2002 , 1998 Robert Kennedy Jr., 1995 Scott Stapp/Creed, 2002 Upright Citizen’s Brigade, 1998 Martin Amis, 1995 , 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 , 1995 Mr. Show, 1998 Joan Jett, 1995 George W. Bush, 1999 Todd Haynes, 1995 Lisa Kudrow, 2000 Ewan McGregor, 1996 Wayne LaPierre, 2000 , 1996 , 1999 Philip Johnson, 1996 Robbie Williams, 1999 , 1996 Elmore Leonard, 1998 , 1996 Andy Dick, 1999 Anita Roddick/The Body Shop, 1996 Laurie Moore, 1999 Questlove/, 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 , 2000 Steve O/Jackass, 2002 George McGovern, 1996 Malcolm Gladwell, 2000 Rudy Giuliani, 2002 Katherine Graham, 1996 Neko Case, 2000 , 2002 Moby, 1996 Philip Seymour Hoffman, John C. Reilly, 2000 , 2002 , 1997 Mary Tyler Moore, 2000 Chloe Sevigny, 2003 , 1996 Margaret Atwood, 2000 , 2003 Chan Marshall/Cat Power, 1997 Red House Painters, 2000 Ivanka Trump, 2003 , 1997 , 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 , 2000 Devendra Banhart, 2003 Pat Buchanan, 1996 , 2000 D.A. Pennebaker & Chris Hegedus, 2003 Daniel Patrick Moynihan, 1997 Kato Kaelin, 2001 , 2003 Dee Dee Meyers, 1996 Ike Turner, 2001 George Lois, 2003 David Sedaris, 1997 Mark Eitzel, 2001 John Mayer, 2003 , 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 , 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 , 2006 , 2012 , 2004 Donald Trump, 2006 Tori Spelling, 2013 Lady Jaye & Genesis P-Orridge, 2003 Carlos Fuentes, 2006 Alan Simpson, Grover Norquist, 2013 Ryan Adams, 2003 , 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 , 2006 Barack Obama, 2013 , 2006 Jimmy Kimmel, 2013 Kevin Smith, 2006 Ted Cruz, 2013 , 2006 Nick Offerman, 2013 & 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 , 2007 , 2014 Masaharu Morimoto, 2007 , 2013 , 2007 Wale & Jerry 2014 Snoop Dogg, 2008 Susan Sarandon, 2015 James Blunt, 2007 , 2015 Nas, 2007 Kristen Stewart, 2014 Vice Founders, 2007 , 2014 , 2007 , 2014 & , 2007 A$AP Rocky, 2015 Marc Newson, 2007 Ingrid De La O & Neil Strauss, 2015 , 2004 Rob Corddry, 2008 Sarah Wilmer, 2015 , 2004 Adam Yauch, 2008 , 2015 , 2004 , 2008 The Grumpy Cat, 2015 Harryhausen, 2004 The Fiery Furnaces, 2007 Yo Yo Ma, 2015 , 2004 Barney Frank, 2008 Tory Burch, 2016 Hugh Hefner, 2004 Nick Cave, 2008 Eliot Spitzer, 2004 Hulk Hogan 2008 William F. Buckley Jr., 2004 , 2009 Carl Hiaasen, 2004 “Weird Al” Yankovic, 2008 , 2005 Jay Leno, 2009 Larry Fink, 2004 Jeb Bush, 2009 Demetri Martin, 2004 , 2009 Jonathan Safran Foer, 2004 Elizabeth Warren, 2009 , 2005 , 2009 Rob Thomas, 2005 JJ Abrams & Bad Robot, 2009 Rivers Cuomo/Weezer, 2005 , 2010 George Clinton, 2005 Jim Parsons, 2010 , 2005 Ayaan Hirsi Ali, 2010 Tony Curtis, 2005 , 2010 Philip Lorca diCorcia, 2005 George H. W. & Barbara Bush, 2010 Elliott Erwitt, 2005 Louis C.K., 2010 Steve Martin, 2005 , 2009 , 2005 , 2010 , 2005 Simon Cowell, 2011 Alejandro Jodorowsky, 2005 Rahm Emanuel, 2011 , 2005 , 2011 , 2006 Desmond Tutu, 2009 , 2006 Michele Bachmann, 2011 Lili Taylor, 2006 & , 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-, Chris Buck was living in New . I was living in , 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 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 . 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 . 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 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 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 -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 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 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 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 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 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 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 , 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 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 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 [email protected] chrisbuck.com instagram.com/the_chris_buck chrisbuckbooks.com thechrisbuck.tumblr.com