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  • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

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    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

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    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

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    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

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    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

  • Home
  • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

    from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    The Bitter Bulbs of Trees Growing by the Roadsides of History – Three Poems by Iya Kiva

    What Was Heart Is Now A Scorched Branch – Three Poems by Elina Sventsytska

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Water: The Longest Tunnel Where the Color Blue Is Born — Four Poems by SHANKAR LAHIRI

    Message to Forough Farrokhzad and other poems – Samira Albouzedi

  • Fiction
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    BOW / BHUK – Parimal Bhattacharya

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    A Very Different Story (Part II)- Nandini Sahu

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    The Aunt: An Exhilarating Story by Francesca Gargallo

    THE PROGENITOR – Zakir Talukder (trans. from Bengali by Masrufa Ayesha Nusrat)

    Stalks of Lotus – Indrani Datta

    Love in Africa and the Variety of its Declinations:  Short-story Tasting from Disco Matanga by Alex Nderitu

    Love in Africa and the Variety of its Declinations: Short-story Tasting from Disco Matanga by Alex Nderitu

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

  • Non Fiction
    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Menstruation in Fiction: The Authorial Gaze – Farah Ahamed

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Aadya Shakti, or Primal Energy – Lyla Freechild

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE TIME HAS COME – Gaius Tsaamo

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” –  Massimo Ceresa

    THE AMAZONS OF THE APOCALYPSE from “Ikonoklast – Oksana Šačko’: arte e rivoluzione” – Massimo Ceresa

    Plowing the publishing world  – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Plowing the publishing world – Tribute to Brazilian writer Itamar Vieira, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

    Jaider Esbell – Specialist in Provocations, by Loretta Emiri

  • Interviews & reviews
    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    The Excruciating Beauty of Ukrainian Bravery: Camilla Boemio Interviews Zarina Zabrisky on Her Photography Series

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Everything Moves and Everything Is About Relationships. Susan Aberg Interviews Painter Louise Victor

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Videos from worldwide readings in support of Ukrainian writers, September 7, 2022 – Zoom Readings Italy

    Reportage of War and Emotions, the Tour of Three Ukrainian Poets in Italy

    From Euromaidan: Three Ukrainian poets to spoil Westsplaining fest in Italy – Zarina Zabrisky

  • Out of bounds
    • All
    • Fiction
    • Intersections
    • Interviews and reviews
    • Non fiction
    • Poetry
    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

    Artwork by Mubeen Kishany – Contamination and Distancing

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Glory to the Heroes! Poems by Volodymyr Tymchuk

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    Materials from Worldwide Readings in Solidarity with Salman Rushdie – Bologna Event

    The Shipwreck Saga – Lynne Knight

    Phoenix: Part I – YIN Xiaoyuan

    Surrender to Our Explosive Democracy – Five Poems by Serena Piccoli from “gulp/gasp” (Moria Poetry 2022)

    Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

    Me and French, or What I Did During the Pandemic (Moi et le français, ou Ce que j’ai fais pendant la pandémie) – Carolyn Miller

    Becoming-animal as a Mirror – Ten Animals from Gabriele Galloni’s Bestiary

  • News
    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    THE DREAMING MACHINE ISSUE N. 11 WILL BE OUT ON DEC. 10

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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Home Interviews and reviews

Mia Funk Interviews Photographer Mark Seliger

November 23, 2020
in Interviews and reviews, The dreaming machine n 7
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The Dreaming Machine is honored to be part of The Creative Process, an exhibition and international educational initiative traveling to leading universities. As part of the exhibition, portraits and interviews with writers, artists, and creative thinkers are being published across a network of university and international literary/arts magazines. The Creative Process is including work by The Dreaming Machine’s contributors in the projection elements of the traveling exhibition.

 

 

 

Mark Seliger was born in Amarillo, Texas. He was Rolling Stones chief photographer for 20 years, where he shot over 150 covers of silica shoots frequently for Vanity Fair, GQ, Italian Vogue, Harper’s Bazaar, L, and other magazines. His advertising work includes projects for Adidas, Anheuser-Busch, Levi’s, Netflix, and Ralph Lauren. Seliger received the Alfred Eisenstaedt Award, Clio Grand Prix, the C Award, Cannes Lions Grand Prix, The One Show, ASME, SPG and the Texas Medal of Arts were exhibited in museums and galleries around the world. 

His photographs are in the permanent collections at the National Portrait Gallery at the Smithsonian, the Museum of Fine Arts in Houston and the National Portrait Gallery in London.

 

You can listen to this interview on Apple Podcasts, Spotify, Google Podcasts, Podcast Addict, Pocket Casts, Breaker, Castbox, Overcast, RadioPublic, Podtail, Radio.com and Listen Notes, among others.

 

THE CREATIVE PROCESS

Mark Seliger, Welcome to The Creative Process.

MARK SELIGER

Thank you.

THE CREATIVE PROCESS

So we’re at the Five Senses Festival. You were just discussing your book On Christopher Street: Transgender Stories. This is kind of in contrast to some of your portraits of power and celebrity. I know you also have the 401 Projects. Why did you decide to do these two poles of your work?

SELIGER

Well, I’ve always done personal work, even though that’s not necessarily what you’re recognized for. That’s the work that’s going to be the work you pass on. So, my very first book was actually called When They Came to Take My Father, which was based on Holocaust stories and Survivor stories. I’ve always just loved documentaries. It’s really the heart of why I became a photographer. It just so happened that in the world that I decided to work in the other 50 percent is your commercial work, which you try to keep in the same theme of thread, in terms of portraiture. It may vary in terms of the way that people receive it, but both things should be able to pass in the same likeness.

 

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THE CREATIVE PROCESS

So, one thing that you’ve said is that you’re trying to–well, I guess this is more applying to your celebrity portraiture–is that you’re trying to present something, get something that no one’s gotten.

SELIGER

That’s right.

THE CREATIVE PROCESS

And how do you do that with some people we’ve seen so many times?

SELIGER

Well, I think it’s all about the idea. You start from an idea. So many times when I’m explaining process to people, it has nothing to do with the technical, it has to do with the idea. The technical aspect is pretty easy because it’s arithmetic, it’s math.

And then when you come up with a great idea, then you’re basing the outcome in terms of the way that you perceive it, preemptively see it, rather than necessarily just go out and take the picture. So I try to work from an emotional aspect of the way that I think about a photograph either through, I call it a wink, which is like giving it a sense of life and a sense of humor. Or just like an emotional response from my viewer.

THE CREATIVE PROCESS

So we’re looking at your book now Mark Seliger Photography. 

SELIGER

And the first part is very art directed by a great designer by the name of Fred Woodward. And so as you start through the book, what we do is we group it into multiple exposures. Then as you move through the book, it has very different themes throughout the entire book.

THE CREATIVE PROCESS

I think that has something to do with the creative process, too. There’s different elements, the improvised moments, the reflective moments.

SELIGER

Happy accident, the picture of Baryshnikov was shot on one piece of film and the actual camera shot twice. When I got it back, I was upset that the camera shot twice during two great moments. And then when I got the film back, it was the perfect film.

THE CREATIVE PROCESS

So I thought it was maybe photoshopped in that way.

SELIGER

That was not photoshopped.

THE CREATIVE PROCESS

Oh, I’m sorry because I know you’re a real darkroom guy. I’m sorry, I didn’t mean to say that.

SELIGER

[laughs] Don’t give me the photoshop rap!

THE CREATIVE PROCESS

No, I don’t mean to, but I mean that sometimes people are very skillful now, and you’re not sure, right? I should say that Mark Seliger Photography is introduced by Judd Apatow. He says something very moving. Well, he says that you’re his favorite photographer, and you’ve worked with him, of course, a number of times and so the humor…

SELIGER

He’s trying to get a discount.

THE CREATIVE PROCESS

No, but he said something very moving. He was speaking about one of the poster images for one of his films. You told the story about the humor of the characters, their vulnerability and their fears in one shot. They took a whole movie.

SELIGER

It was Superbad, and that was the first time we worked together.

THE CREATIVE PROCESS

Right, so this goes to this preparation or the ideas or the many stories that you have to scale into one moment. So you do these lists. How would those lists work as you’re preparing?

SELIGER

Well, it’s research. Lists are–there’s two columns. There’s the similarities and there’s the things that are polar opposites. Those two lists live in the same world. Whatever seems to be the stronger concept is how we narrow things down.

Usually, it’s just one or two things, and it’s either taken from a discussion I have with my subject, or it’s basically my own creation of getting to know them through the music they make, films they make, books they write; the world they live in. And so I just try to find out something about them and create a storyline.

THE CREATIVE PROCESS

And some of those, on the technical side, are very basic decisions like palette. You have this wonderful poetic black and white photography, and then you have your color. How are you making those decisions? I know it’s different for each one. So maybe we should mention some of the people you’ve photographed.

SELIGER

Well, I think I’ve always been drawn to a reductive style in photography, even though my humble beginnings really started with color and with something that was much more produced. I’ve always been drawn to the idea of the print. So, process plays 50 percent into what I do, whether it’s a technical aspect or whether it’s making a print. So, if I see something that I think is going to make a beautiful black and white print or a beautiful color print, then it might be very reductive and just really rely on the idea of composition, slight composition, and tonality. Or, it might be a big concept which is colorful or theatrical or both.

THE CREATIVE PROCESS

Obviously, some of the magazines or the people you work for would have their kind of look as well, like Vanity Fair or Rolling Stone.

SELIGER

I don’t really care that much about what they do. I care about what I do, and what I can bring to it because you can’t get really hooked into the fact of what other photographers do. You have to really create from an original place. The only way you can do that is by not feeding into what other people are doing, but what you are connected to. So originality, in my opinion, is the key to a long journey. 

THE CREATIVE PROCESS

Yeah, and that also feeds into even surprising the subject. It sounds so weird to call someone a subject, the person.

SELIGER

No, I mean it’s a session. It’s a subject and everybody is different. The diversity of assignments I get are wide. So I might one day go photograph a president.

THE CREATIVE PROCESS

Obama, famously.

SELIGER

Where you have five minutes of their time. You have to be very prepared before you go in there. You can’t just like, “Oh, I was thinking maybe we’d walk in the Rose Garden, and there’d be some fireworks!” You have to be very prepared in order to be able to do what you want to do, which means that you’re testing in your studio. You’re creating an idea before you go there. You can set it up and you can shoot it.

THE CREATIVE PROCESS

Yes, but you often don’t like to tell them the idea if there’s a really big idea. 

SELIGER

True, but I feel like less is more sometimes. There is, especially at the time that was like what I call the golden age of magazines, you were really dealing with a lot of publicists. You were dealing with teams of people from a specific artist that you had to give maximum information before they would allow you to shoot, but I always believed that the real interaction happened when you were with the subject, and that even if you had to massage and make somebody happy from their team, once you got in there and you started really managing the shoot, anything could go.

THE CREATIVE PROCESS

I noticed something interesting that you said. There’s so many insights that students of photography should really listen to. One is to, I heard that you like to maybe sometimes wear them down. 

SELIGER

Yes.

THE CREATIVE PROCESS

Which is, not sadistic, but it’s to get to a true spot?

SELIGER

Well, when somebody is in a session, there’s a moment where they let the guard down. That’s a sense of vulnerability. That’s almost a hundred percent going to happen in a shoot. Some people are receptive to being themselves and some people aren’t. I think now more people are willing to be authentic.

THE CREATIVE PROCESS

Yeah, the other doesn’t really work or we’ve seen too much of that.

SELIGER

Yeah, I feel like the amount of time and experience that people want to put into things now is very different from when we used to do it 20 years ago where people would dedicate days for an incredible image.

Now, because the technology has changed, and the way that people receive information has changed, there’s such an immediacy to the way that you’re giving people information. It’s almost going to happen instantaneously. So you don’t really have a lot of time to necessarily collaborate, to spend time shooting. You’re really almost immediately like getting the picture done and out.

THE CREATIVE PROCESS

But for you, I understand that the exchange, from your work now talking about Christopher Street, we should talk about the Transgender Stories, that an exchange.

SELIGER

Well, that was a very important story to tell because I could see the neighborhood changing. So as a documentary experience, you have to be pretty aware that that in itself is the kind of sensitivity to time. That when you see something changing rather than, you know, talking about it, you’ve got to go out there and to do the work.

You’ve got to go out there and take the picture. I always tell people the worst picture can ever take is one you don’t take. And that is a simple philosophy. If you don’t go out there and do the work, then you will never know. You may think there’s going to be another great snowstorm. You might think there’s going to be another great moment where a block is going to have a certain kind of rhythm or a culture is going to have a certain amount of innocence or a musician is going to be as reluctant or vulnerable or sympathetic.

You just have to embrace the moment and do the work.

THE CREATIVE PROCESS

You were speaking, I am thinking about musicians and I’m thinking about people who have passed. Of course, you’ve done that, it was used as a memorial for a photograph of Kurt Cobain. Or I think about Muhammad Ali. I think we should just if we could just talk about some of the people you have photographed and what you thought about. What were your lists going in and what happened in the moment that occurred.

SELIGER

Kurt, we photographed two months before he killed himself. That in itself was a pretty remarkable moment because when he seemingly was in a good place in his life, and I took the opportunity to connect with him, I had worked with him once before and took the opportunity to connect with him from a place of honesty.

There was a vulnerability in his eyes during a couple of the images that we took. And then I think the surprise of that photograph and the connection that people had was that there was something–there was a story not necessarily being told at that time. Which was that there was a melancholy. There was like a quietness, an unsettled quietness about him that was still very present.

I don’t want to get too demonstrative about process because you never really know what’s happening when it’s happening. You just sort of live in the moment when you’re working, and you create an opportunity to do a great picture or an interesting photograph. That observation of being in front of somebody or being in that moment really can capture an experience. As you said, you never know what’s going to happen…

I mean it’s one of the saddest photographs I have because I was right there and I could kind of see that there was something that was not quite predictable.

THE CREATIVE PROCESS

Yeah, that is the sadness when you only have so long yet the photograph lives forever.

SELIGER

And the photograph lives forever.

THE CREATIVE PROCESS

Something a little bit like, with some photographs, they are like death, you know?

SELIGER

Yeah.

THE CREATIVE PROCESS

With a stillness.

SELIGER

Yeah, and stillness has always been a really important part of the way that I live. Like my stillness is very much about the way that I work. That kind of quietness and that moment where I can offer my subject a moment to reveal.

THE CREATIVE PROCESS

You have the stillness, and yet you also have this humorous side where you photographed…

SELIGER

Funny.

 THE CREATIVE PROCESS

Funny legends. Mel Brooks…

SELIGER

I’m a Gemini. What can I tell you?

THE CREATIVE PROCESS

Thank you so much. I just want to thank you for this wonderful body of work, what you’ve given to us, the history you’ve recorded, and for adding your voice to The Creative Process. 

SELIGER

Thank you so much for having me. I really enjoyed talking to you.

 

 

This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producer on this podcast was Crystal Ly. Digital Media Coordinator was Yu Young Lee. If you would like to participate in The Creative Process exhibition, podcasts or submit your creative works, just drop us a line at team@creativeprocess.info.

 

Tags: 401 ProjectscelebritiesMark SeligerMia FunkobservationphotographyportraiturepowerRolling StonesstillnessThe Creative Processvulnerability

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Ghayath Almadhoun's "Evian" Wins the 2020 Poetry Film Zebra Award

The Dreaming Machine

Writing and visual arts from the world.

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A Mavka in Kharkiv – Inna Romenska

The Woman Sits Down The woman sits down in front of the computer, sets everything up carefully: Kleenex, headphones, pain ...

December 7, 2022
Out of bounds

IN DEFENSE OF GOLDILOCKS – Jeanne Wagner

    The social worker says She’s not quite a sociopath, though she does have a problem with boundaries. I ...

November 29, 2017
Poetry

God appeared at midnight: Three poems by Bitasta Ghoshal

ALLEGIANCE   God appeared at midnight, and begged me I gave Him a fistful of rice, and in lieu asked ...

April 28, 2022
Out of bounds

PLEA TO FREE THE SLAVES ADDRESSED TO PHARAOH – Mario Bellizzi, with author’s note

PLEA TO FREE THE SLAVES ADDRESSED TO PHARAOH              B-ISMI-LLĀHI R-RAḤMĀNI R-RAḤĪMI   Your Excellency, Pharaoh Cheops (or KHUFU) I am one ...

April 30, 2021
Out of bounds

A salty city licking away all the pleasures – Poems by Debabrata Kar Biswas, trans. Hindol Ganguly

    O   Can go anywhere as soon as I hear the call I wait for it to reach ...

November 29, 2021

Latest

Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

December 11, 2022
The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

The mushroom at the end of the world. Camilla Boemio interviews Silia Ka Tung

December 10, 2022
This Is Not A Feminist Poem – Wana Udobang (a.k.a. Wana Wana)

from AFROWOMEN POETRY – Three Poets from Tanzania: Langa Sarakikya, Gladness Mayenga, Miriam Lucas

December 10, 2022
Take Note of the Sun Shining Within Twilight – Four Poems by Natalia Beltchenko

THE MATERICIST MANIFESTO by AVANGUARDIE VERDI

December 10, 2022

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HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran
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HAIR IN THE WIND – Calling on poets to join international project in solidarity with the women of Iran

by Dreaming Machine
2 months ago
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HAIR IN THE WIND we  invite all poets from all countries to be part of the artistic-poetic performance HAIR IN...

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