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September

@september_projects

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“If we are facing the “end of history,” as many claim, it’s not because it somehow disappeared. On the contrary, it over-materialized. There is too much of it: The past is way longer and wider than the present…Culture does not so much progress as accumulate. We knew this before the internet, and we knew it in the face of modernism, while waiting for it all to become “post.” When the internet did arrive, one of its unofficial roles was to be the informal archive of the previous centuries, particularly the twentieth, leaving us with the option to pick over slowly what had been raced through in the name of progress.” @davidcampany writes in his new essay ‘One for the Many’, commissioned for ‘Map of Maps’. Pat Sullivan, Frustrated. Gasoline Shortage. Baltimore, Maryland.
June 15, 1979. Photograph by Richard Childress. Included in Campany’s ‘Gasoline’ book, published by Mack in 2013. by @september_projects
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September is an artist-run annual print publication. Each issue brings together conceptual photography, cinema, architecture, philosophy, fiction and nonfiction, video art, and artist books, all devoted to a single subject. The editors fill that subject with wide-ranging, often contradictory perspectives until an initial conception of a term brims over into new reflections on how to navigate our current moment. The first issue, ‘Map of Maps’, gathers nearly sixty artists and writers, including thirty newly commissioned texts. It was printed by Antiga Grafiche in Verona and designed by @brianpaullamotte @lamotte_studios ‘Maps of Maps’ has four covers. This one: Zheng Guogu, Ten Thousand Customers 270 (1997–2016). C-Print, handmade paper-carving on photographic paper, 23 ⅝ × 39 ⅜ in. (60 × 100 cm). Image courtesy of the artist, @elikleingallery , and @vitamincreativespace . Featured in @phil.z.cai ’s text Case for the Unarchived. by @september_projects
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“The quotidian identification or ID photograph is a cultural calling card that becomes a powerful seed for understanding the complex strata of a life uprooted, replicated, and replanted a world away from where it began” writes @carlajwms of @scarvillek ’s ‘Passports’ work, featured in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. All Images © 2025 Keisha Scarville. Courtesy Keisha Scarville and Higher Pictures. Text 2025 Carla Williams. Courtesy Carla Williams and Higher Pictures @higherpicturesgeneration by @september_projects
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I wrote about @aminyosefi ‘s ‘Eyes Dazzle as They Search for the Truth’ for ‘Map of Maps’, the inaugural issue of @september_projects - which we’ve just received advance copies for and is beginning to make its way out into the world after a year and a half of work alongside my co-editors @andrea_orejarena @rain.ykc and designer @brianpaullamotte . Amin re-photographed images made by other photographers in the 1979 Iranian revolution, using a magnifying loupe to hone in on the people in the crowds who were looking directly at the photographers. I wrote: To magnify an image is to walk straight into Michelangelo Antonioni’s Blow-Up. In the 1966 film, a photographer wanders through a park, photographs a couple, and later suspects his negatives contain evidence of a murder. In his darkroom, he rephotographs and enlarges the prints again and again. As the details become larger, the photographer doubts himself, until he no longer knows what he has seen. One might expect magnification would reveal more than what the naked eye can see; in reality, it exposes strangeness. At close range, the familiar turns uncanny. It’s like repeating the word ‘looking’ until it ceases to be language and becomes sound. It was a pleasure to spend time looking carefully at this work, which was also just published by @luhz.press @zoelem with a text by @davidcampany and will be included in @sascha_ray ‘s ‘Fever Dream’ group show - also all about archives - opening @palogallery on October 9th from 6-8pm. by @september_projects
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“It’s all in pursuit of trying to capture this thing in all its dimensional- ity before it’s lost. Not in a nostalgic way, but I think something in its twilight is just more acutely what it is, and we can understand it better because the picture is almost complete. It’s almost resolved in its tra- jectory. And I think art is the right place for that inquiry, because it is kind of the final frontier of the analog, the thing in a room, the thing that gathers dust,” says @mungothomson in conversation with @mklombino in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. All Images, Mungo Thomson, stills from Time Life Volume 9. Life Model, 2025,
4K video with sound, 9:53 minutes.
Soundtrack: Mark Fell and Will Guthrie,“Diffractions 1,” 2020 (excerpt). © Mungo Thomson. Courtesy the artist and Karma @karmakarma9 by @september_projects
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‘A Fever for Images’ — my text on Farah Al Qasimi @frequentlyaskedquestion for ‘Map of Maps’, the inaugural issue of @september_projects I wrote about the ways Farah’s work moves between places, tracing how taste, aspiration and belonging find expression in everyday spaces. Beauty salons, living rooms and shop fronts become places where histories meet, and where decoration tells stories of its own. An excerpt: “In her pictures, geography blurs. An image might appear to belong to Abu Dhabi but was taken in Brooklyn, or vice versa. That confusion is the point: it unsettles the idea that place, and by extension identity, can be neatly located. Al Qasimi’s world operates through slippage and echo, where traces of colonial taste and global consumer culture meet in unpredictable ways.” Having co-curated Farah’s display at Tate Modern with Nabila Abdel Nabi @nabilaanabi it was lovely to return to her work through writing, and to think further about the personal archives she brings into public view. Thank you to the September team for the invitation and for bringing this issue together. Works pictured, in order, all by Farah Al Qasimi: Lunch, 2018. Installation view, Abort, Retry, Fail, 2023. Courtesy of Delfina Foundation. Photo by Tim Bowditch. Living Room Vape, 2017. A’s Reflection, 2019. by @september_projects
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“Though gender isn’t an overt framing or subject of Tod PapaJohns, the signature self-mythologizing of the likes of Tod Papageorge, Garry Winogrand, John Gossage, and other towering male figures of twentieth-century photography, certainly is,” writes @jessdbot about the satirical zine ’Passin’ Through, Eatin’ by Todd PapaJohns, made by a collective of MFA students who inserted pizzas into images made by Tod Papageorge and reprinted the work with risograph. “Even if these photographers didn’t take themselves that seriously, the too-narrow history of photogra- phy does. Inserting pizza into these images—in combination with the mock self-agrandizing quotes and lionizing, nostalgic text—has the effect of defanging a history that has celebrated a precious few photographers while ignoring too many others. Rather than trying to override an older sense of importance with a new one, Tod PapaJohns gives us (delicious) pizza.” ‘Passin’ Through, Eatin’ is in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. All Images © Todd PapaJohns, from the series Passin’ Through Eatin’. All rights reserved. by @september_projects
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We are delighted to share the first issue of September, an artist-run annual print publication bringing together conceptual photography, cinema, architecture, philosophy, fiction and nonfiction, video art, and artist books, all devoted to a single subject. Our first issue, ‘Map of Maps’, gathers nearly sixty artists and writers, including thirty newly commissioned texts, around the theme of archives. Thank you to every single contributor. This magazine is brimming to the seams with your insightful, provocative, touching, and surprising interpretations. Across the issue, these responses take many forms and directions. Among them, Keisha Scarville’s intimate portraits of her father’s passport photographs—collaged, painted over, and repurposed to explore identity and belonging; Jeffrey Gibson’s intervention in the Brooklyn Museum’s archive, where he places moccasins on a colonial statue; and Bernardo Mosquera’s curatorial and critical essay considering the archive through a Brazilian Candomblé perspective, in which past, present, and future happen at once, moving away from dominant Western forms of linear time and considering how this shapes archiving in both personal and institutional realms. These are just a few of the many perspectives gathered in ‘Map of Maps.’ Check out the first issue for the work of all of our contributors, which we are deeply grateful to have had the honor to publish. ‘Map of Maps’ is the product of sixteen months of hard work. September is a true labor of love and obsessiveness, something at the root of the archival impulse in all of us. Thank you to Antiga Grafiche in Verona for the gorgeous printing. And last but not least, we are deeply grateful to September’s designer @brianpaullamotte @lamotte_studios ‘Maps of Maps’ has four covers. This one: Sara Cwynar, Red Rose II, 2020, 24 × 30 inches, archival pigment print mounted on Dibond. Courtesy the artist and Cooper Cole, Toronto, and The Approach, London. @cwynars @coopercole @approachgallery m by @september_projects
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I wrote about @raf_fellner ‘s pictures of Robert Frank for the first issue of @september_projects , just published!: It was Raf Fellner’s idea. He asked Robert Frank to take selfies using animal filters. Not to parody himself or make a statement, just to see what would happen - and Frank, grinning, frowning, deadpan, did it. These are late-life images: strange, tender, human. Frank in pajamas under a crown of cartoonish pink flowers. Frank in spa-mode, cucumber eyes and a towel turban - a moment of zen self-care. Frank underwater in a Uniqlo puffer, staring into the lens. Some of the images are silly, some of them feel loaded, some of them carry a good measure of rugged warmth. Raf’s presence is felt in these photographs. Raf is the kind of artist who loves photography but never quite trusts it, who makes zines, drawings, documentaries, collages, photographs. Ten cameras in rotation, no allegiance to any single mode, perhaps because he’s allergic to canon, suspicious of purity, and invested in what images can still do when you loosen your grip. The fact that this project exists at all says something about Raf’s sensibility: irreverent, curious, unpretentious. And something about Frank, too, whose life’s work was about looking at things askew to see them clearly. You sense he’s doing that again here, but with himself. Frank’s ‘The Americans’ entered the archive, and, in time, became one. These images arrive from a very different technological moment, trading grain for pixels, but they extend the same sideways way of seeing, soft but sharp, intimate without sentimentality. Now, with both Frank and June Leaf gone, Raf Fellner’s pictures of Frank at home and in his studio feel different. The playfulness is palpable, but they read now more like a parting gesture. by @september_projects
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“The fashion [industry has] deep and historic ties to the military. Trench coats were developed for British officers in WWI. Cardigan sweaters are named after the 7th Earl of Cardigan, a British military commander. Even the basic T-shirt was inspired by undergarments designed for the U.S. Navy. Today, we see the fashionably inclined wearing what looks like special ops gear to the grocery store.” - @emiliapetrarca read the rest of @emiliapetrarca’s text on @matthieu_nicol ‘Fashion Army’ in September Project’s first issue In Fashion Army, Matthieu Nichols mines the declassified U.S. Army archive for its meticulously photographed record of military dress. Sign up at the link in our bio for updates. From the declassified archive of the U.S. Army Natick Soldier Systems Center, Natick, Massachusetts, c. 1960s–1990s. Selected and sequenced by Matthieu Nicol. by @september_projects
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“Alanna Fields’s interest reaches backward to a time before she was born—long before our contemporary moment, in which queer identities and ico- nography are increasingly detached from their origins, commodified, and casually tried on at will. Fields concentrates her search on a bygone time whose interpretation is often skewed by official historical accounts. . . . Fields has described her inexhaustible archival work as a gift to her younger self, who grew up without seeing nuanced images of Black queer individuals. To extend that remark, it can be said that the searching for, gathering, and preservation of discarded objects is also, in many ways, a searching for, gathering, and preservation of one’s own selfhood.” Luther Konadu writes about Fields’s work for ‘Map of Maps’. Alanna Fields, Kiss Me Make My World Fade Away, 2023.
Encaustic wax on archival pigment print and plexiglass panel, 30×40×11⁄2in. @alannafields by @september_projects
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“Two years ago, during the last session of the Venice Biennale, the United States was represented, for the first time in the history of the Biennale, by an Indigenous artist: Jeffrey Gibson—an astonishing delay in canonizing Indigenous artists’ authority in the artistic history of their homelands,” writes @saam.niami on @jeffrune in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. 1. Installation view: Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks, Brooklyn Museum, Brooklyn, NY, 2020.
Photo: Jonathan Dorado / Courtesy of Sikkema Malloy Jenkins, New York. Note: The moccasins featured in this image were commissioned by Jeffrey Gibson on the occasion of the Brooklyn Museum exhibition and were made by John Little Sun Murie. 2. John Little Sun Murie, I’M GONNA RUN WITH EVERY MINUTE I CAN BORROW, 2019. Buckskin, glass beads, brass studs, brass sequins, cotton fabric, each moccasin 6 × 5 1⁄4 × 15 in. (15.2 × 13.3 × 38.1 cm). Installation view: Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks, Brooklyn Museum, Brooklyn, NY, 2020.
Photo: Jonathan Dorado / Courtesy of Sikkema Malloy Jenkins, New York. 3. Jeffrey Gibson, I DON’T BELONG TO YOU – YOU DON’T BELONG TO ME, 2016. Glass beads, tin jingles, artificial sinew, acrylic felt, canvas, over wood panel, 2 parts, each 18.25 × 24 × 3 in. (46.4 × 61.0 × 7.6 cm). Installation view: Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks, Brooklyn Museum, Brooklyn, NY, 2020. Photo: Jonathan Dorado / Courtesy of Sikkema Malloy Jenkins, New York. @sikkemamalloyjenkins by @september_projects
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