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Muriel Hasbun (born 1961 San Salvador, El Salvador) is a Washington D.C. based photographer focused on issues of cultural identity and memory. Hasbun's complex ethnic and racial background is heavily influential in her work. Her father's family are Palestinian Christian immigrant's that migrated to El Salvador from Bethlehem while her mother was born in France of Polish-Jewish descent. She seeks to investigate many of her family's stories that have been silenced through years of oppression. For example, the Holocaust and the prejudice and bias against Palestinians in El Salvador. Hasbun utilizes her art as a method to explore this silencing. She was originally draw to photography through her father, an amateur photographer with a dark room in Hasbun's home. Art was always a prevalent aspect of her life as her mother owned the renowned Galería el laberinto (1977-2001) in San Salvador, El Salvador. She ultimately decided on photography as her main art platform due to its ability to capture a particular time or place that can never again be recreated, a form of "dialogue with the past. " Hasbun also is the founder and director of laberinto projects, "a transnational, cultural memory initiative that fosters contemporary art practice, social inclusion, and dialogue in El Salvador and its diaspora, through exhibitions, art education, artist residencies and community engagement. " She now works and resides in Washington, D.C.

Education
Muriel Hasbun received her BA in French Literature from Georgetown University in 1983, followed by an MFA in Photography from George Washington University in 1989 where she studied under Ray K. Metzker.[3] She has returned to teach photography at George Washington University and the Corcoran School of Art. She is now Professor Emerita at George Washington University/Corcoran School of the Arts & Design. Hasbun lectures internationally, and teaches through Laberinto Projects and other institutions, such as the Smithsonian, the Latin American Youth Center, and Arlington County, Virginia.

Si Je Meurs / If I Die
Si Je Meurs is a 2016 series of photographs, printed as archival pigment prints. Hasbun explores the trauma and loss her family, Janet Janowski, and her surrounding community has experienced, and how this influences the construction of Hasbun's own identity.

Santos y Sombras / Saints and Shadows
Santos y Sombras is a personal memoir of Hasbun's experience growing up in El Savador as a Palestenian Christian and Polish/French Jewish. The collection is two-fold Hasbun explains, the saints representing her Palestinian/Christian family and the memories of childhood through old photographs and documents, contrastingly, the shadows representing the exile, persecution and forced silence of her maternal Jewish family during World War II. The series features 38 black and white silver gelatin prints printed on either Kodak Polyfiber or Forte Polywarmtone.

Protegida / Watched Over
Protegida features a photographic installation accompanied by sound that explores Hasbin's relationship with prayer, specifically the ideas of redemption and protection. Hasbun states that the photographs work to capture her memories of pain and suffering through the experiences of her mother and great aunt during the Holocaust.

X Post Facto
X Post Facto is a series composed of 32 photographs selected from an archive of over 1,000 X-Rays. Hasbun stated that her intention for the piece was to create a space in which the body's ability to capture experience is highlighted, specifically the connection between the x-rays and Hasbun's experiences during and after the Salvadoran Civil War.

Encarnado : Embodied
Encarnado : Embodied consists of color archival pigment prints on Epson Hot Press Bright, that feature the many imagined details of a slaughterhouse; raw meat, intestines, blood-stained floors, animal corpses, hooks, as well as the people who work in these places. Hasbun frames Encarnado as a juxtaposition between the human flesh and the meat of animals. Hasbun states that the series was created to put into play the boundaries of prey and predator as well as the space linking life and death.

barquitos de papel / paper boats
barquitos de papel is an interactive mixed media and video installation piece conceived as part of the Fullbright workshops and first shown at the Centro Cultural de Espana in San Salvador during the project in 2006. The video installation features images of the last week of Hasbun's father life, as they both constructed paper boats together. The installation welcomes viewers to contribute their own paper boats to the space, inscribed with their own families' stories of migration. As a result, the barquitos de papel archive was born, a repository of audio, video and historical documents and a space for dialogue about identity and space.

Documented: The Community Blackboard
Documented: The Community Blackboard is a site-specific space created for the Art Museum of the Americas in Washington, D.C. It invited the public to post their family photos and write their own migration story onto the museum walls while a collage-like bilingual sound piece, streaming into the space, wove together aural impressions recorded in El Savador, Hasbun's own oral testimonies, as well as excerpts of Hasbun's poems from when she first came to the U.S. in 1980. Hasbun created this installation in order to bridge the cultural gap between Salvadorans living in El Salvador and the Salvadoran community in Washington, D.C.

ARTE VOZ
Arte Voz began as a series of workshops in Washington D.C in fall of 2015. Responding to the laberinto projects archives, individuals learn about the civil war years through its art and engage in the unfinished business of healing from the violence that still engulfs its communities today. Encouraging the telling of previously untold stories, a small pre-fabricated audio booth became a transnational sculpture fashioned in collaboration with Salvadoran artist Baltasar Portillo.

Conversación
Conversación is a collaboration between Muriel Hasbun and Mexican photographer, Pablo Ortiz Monasterio. The series features photographs from both artists on display in what appears to be a museum environment. The exhibition displays their work in chronological order.

laberinto projects
laberinto projects is a grassroots project led by Muriel Hasbun (Founder + Executive Director) that focuses on art practice, legacy preservation, community building and social inclusion/dialogue in El Salvador and Central America. The projects core belief remains that artists are at the forefront of creative and intellectual discourse and that art serves as a primary tool for shaping society. One of the laberinto project's main goals is to create an art historical continuum in El Salvador and Central America through the study, conservation, and digitization of different archives and collections. One of the main archives they study is the laberintos project archives which documents the history of the artists within the laberinto project, as well as the most significant art pieces produced during and after the Salvadoran Civil War. They have launched many outreach services including a 7-Day Professional Development Course for Teachers, a collaborative art study program with Nomad/9, and a Master Artist Workshop. They also have opened several cultural and political exhibitions including plasti.co, Vivencias : Legado, Memoria y Legado : Mapping the Labyrinth, and Arte Voz : Speak Your Story. The project was inspired by Janine Janowski (1940-2012), a french-born artist and activist in El Salvador. Janowski opened el galeria laberinto at the beginning of the 12-year long civil war in El Salvador, which functioned as one of the only open art spaces at the time. Janowski's experience as a Holocaust-survivor and as a groundbreaking curator/leader of a controversial art scene at the time, inspired the need for a project to preserve its legacy, the laberinto projects.

Solo and Two-Person Exhibitions

 * 2019 - Brentwood Arts Exchange, “Documented: The Community Blackboard,” Brentwood, MD.
 * 2018 - Gala Hispanic Theater, Muriel Hasbun: Foto-retratos / Photo-portraits, Washington, D.C.
 * 2016 - Civilian Art Projects, “Muriel Hasbun and Caroline Lacey: Calling to You,” Washington, D.C.
 * 2016 - Centro Cultural de España, “ARTE VOZ,” San Salvador, El Salvador.
 * 2015 - Centro Cultural de España, “legado y memoria: trazando el laberinto/legacy and memory: mapping the labyrinth,” San Salvador, El Salvador.
 * 2012 - e-misférica, “X post facto”, New York University, NY, (online).
 * 2012 - University of Texas-Austin, “Archive and Memory,” Austin, TX.
 * 2011 - Mexican Cultural Institute, “Conversación: Photo Works by Muriel Hasbun and Pablo Ortiz Monasterio,” Washington, D.C., (brochure).
 * 2010 - McKinney Avenue Contemporary - The MAC, “barquitos de papel and other stories,” Dallas, TX.
 * 2009 - Warner Gallery, “Vessels & Vestiges,” O’Brien Arts Center, Saint Andrew’s School, Middletown, DE.
 * 2008 - Lonsdale Gallery, “Memory, Identity and Remembrance,” Toronto, Canada.
 * 2007 - NYU’s Hemispheric Institute & Centro Cultural Recoleta, “barquitos de papel,” Buenos Aires,
 * Argentina, (catalog.)
 * 2006 - Art Museum of the Americas, “Documented: The Community Blackboard,” Washington, D.C..
 * 2006 - Centro Cultural de España, “Terruño: detrás del telón / Backdrop: The Search for Home,” San Salvador, El Salvador, (catalog)
 * 2006 - FotoFest, International Biennial of Photography, “Trace,” JP Morgan Chase Tower, Heritage Gallery, Houston, TX, (catalog).
 * 2004 - Corcoran Gallery of Art, “Memento: Muriel Hasbun Photographs,” Washington, D.C., (brochure).
 * 2003 - Conner Contemporary Art, “Watched Over,” Washington, D.C..
 * 2000 - Sol Mednick Gallery, “Santos y sombras,” University of the Arts, Philadelphia, PA. 1999
 * 2000 - Ann Loeb Bronfman Gallery, D.C.CC, “Santos y sombras,” Washington, D.C., (brochure).
 * 2000 - Ann Loeb Bronfman Gallery, “Protegida: Auvergne--Toi et Moi,” Washington, D.C., (brochure).
 * 1997 - ZoneZero, “Santos y sombras / Saints and Shadows,” (ongoing).
 * 1996 - Centre Culturel, “Santos y sombras,” Octobre de la Photo, Agen, France.
 * 1996 - Galerie Le Bleu de Lectoure, L’eté photographique de Lectoure: “Santos y sombras,” France.
 * 1996 - Art Museum of the Americas, “Santos y sombras,” Gallery at the OAS, Washington, D.C., (brochure).
 * 1989 - Galería Imaginaria, “Muriel Hasbun,” Antigua Guatemala, Guatemala.
 * 1988 - Museum of Modern Art of Latin America, “Muriel Hasbun,” Gallery at the OAS, Washington, D.C., (brochure).
 * 1986 - Galería el laberinto, “Muriel Hasbun-fotografías,” San Salvador, El Salvador. group exhibitions (selected)
 * 2018 - Turchin Center for Visual Arts, Full Circle: 2018 CENTER Award Winners, Boone, NC.

Group Exhibitions

 * 2018 - Ninoska Huerta Gallery, The Moon in the Mirror: A Gaze of Her Own, Coral Gables, FL.
 * 2018 - MARTE-Museo de Arte de El Salvador, Equis-Equis: 20 años del CCE, San Salvador, El Salvador.
 * 2018 - Family Film Project, Video-Installations: Scheherazade or (Per)forming the Archive, Porto, Portugal.
 * 2018 - IA&A at Hillyer, Revealed, Washington, D.C.
 * 2018 - The Athenaeum, Parallel Lives, Alexandria, VA.
 * 2017 - Marion Center for Photographic Arts, CENTER Award Winners Exhibition, Santa Fe, NM, 2017.
 * 2017 - Decker and Meyerhoff Galleries, Sondheim Semi-Finalist Exhibition, MICA, Baltimore, MD.
 * 2017 - Betty Mae Kramer Gallery, “Post Memory: Photographs of a Certain Place and Time,” Silver Spring, MD.
 * 2016 - PINTA MIAMI, “Of Fragile Things: Architecture and Desire – Ronald Morán, Muriel Hasbun and Beatriz Cortez,” Aluna Art Foundation, Miami, FL.
 * 2016 - American University Museum, Alper Initiative for Washington Art, “The Looking Glass: Artist Immigrants of Washington, D.C.,” (catalog).
 * 2016 - Centro Cultural de España, “Vivencias: Legado,” San Salvador, El Salvador.
 * 2016 - Candela Books and Gallery, “Unbound 5!,” Richmond, VA.
 * 2016 - Sala Nacional de Exposiciones, “A cielo abierto: Construcciones espacio-temporales de género,“ San Salvador, El Salvador.
 * 2015 - U.S. Embassy in Zagreb, Art in Embassies, “E Pluribus Unum,” Croatia, (catalog).
 * 2014 - Rutgers University, Paul Robeson Galleries, “From There to Here,” Newark, NJ.
 * 2014 - Society for Photographic Education, “Off the Web, On the Wall,” Cleveland, OH.
 * 2014 - Notre Dame of Maryland University, Gormley Gallery, “Contested Divisions,” Baltimore, MD.
 * 2013 - Corcoran Gallery of Art, Gallery 31, “Inter Vivos: Margaret Adams, Gabriela Bulisova, Muriel Hasbun,” (guest curator: Michael Mazzeo), Washington, D.C..
 * 2013 - Smithsonian American Art Museum, “Our America: The Latino Presence in American Art,” Washington, D.C., (catalog; traveling).
 * 2013 - Smithsonian American Art Museum, “A Democracy of Images: Photographs from the Smithsonian American Art Museum” (guest curator: Merry Foresta), Washington, D.C., (online catalog).
 * 2013 -Hillyer Arts Space, “Of Place and Time,” (guest curator: Jarvis DuBois), Washington, D.C..
 * 2012 - Maier Museum of Art, “The 101st Annual Exhibition of Contemporary Art: Bridges Not Walls,” Lynchburg, VA (catalog).
 * 2011 - Light Work, “En Foco/In Focus: Selected Works from the Permanent Collection,” (guest curator: Elizabeth Ferrer), Syracuse, NY; (Traveling: Art Museum of the Americas, Washington, D.C.; Ajira, Newark, NJ, etc.).
 * 2011 - Smithsonian American Art Museum, “Close to Home: Photographers and Their Families,” Washington, D.C..
 * 2011 - Lehigh University, Dubois Gallery, “Women Photographers: Selections from the LUAG Teaching Collection,” Lehigh, PA, 2011.
 * 2010 - Michael Mazzeo Gallery, “RSVP: Arbor,” New York, NY.
 * 2010 - U.S. Embassy in San Salvador, Art in Embassies, El Salvador.
 * 2009 - District of Columbia Arts Center, “Gift Exchange,” (guest curator: Laura Roulet), Washington, D.C..
 * 2008 - American University Museum, Katzen Arts Center, “Multiplicitocracy,” Washington, D.C. (brochure).
 * 2008 - Gallery 31 at the Corcoran Gallery of Art, “FotoViajeros: International Experience / Transnational Identity,” Washington, D.C..
 * 2007 - Society for Photographic Education (MidAtlantic/Northeast), “Homeland: Video Festival,” Woodstock, NY.
 * 2007 - Cultural Institute of Mexico, “Directions,” (guest curators: Irene Clouthier & Laura Roulet), Washington, D.C., (catalog).
 * 2007 - Museum of Photographic Arts, “Tell Me a Story: Narrative Photography Now,” (guest curator: Merry Foresta), San Diego, CA.
 * 2006 - Art Museum of the Americas, “Rompiendo Fronteras/Breaking Borders,” Washington, D.C..
 * 2006 - Zoellner Arts Center, “Latin American Photography 2: Selections from the LUAG Collection,” Lehigh University, Bethlehem, PA, (catalog).
 * 2005 - Texas Women’s University, Joyce Elaine Grant Photography Exhibition, (guest curator: Alison Devine Nordström), Denton, TX.
 * 2003 - International Center of Photography, Only Skin Deep National Survey, New York, NY.
 * 2003 - 50th Venice Biennale, “Dreams and Conflicts,” Latin American Pavilion-IILA, Santi Cosma e Damiano Convent, Venice, Italy, (catalogs).
 * 2003 - The Art Gallery, “Cruzando Fronteras/Crossing Borders,”Montgomery College, Rockville, MD, (brochure).
 * 2003 - The Lowe Art Museum, “Paradise Lost? Aspects of Landscape in Latin American Art,” University of Miami, Coral Gables, FL, (catalog).
 * 2002 - Fries Museum, “Mundos Creados,” Noorderlicht Photofestival, Leeuwarden, Netherlands, (catalog).
 * 2002 - Corcoran Gallery of Art, “Dedicated to Art: 2002 Faculty Biennial Exhibition,” Corcoran College of Art + Design, Washington, D.C..
 * 2001 - MALBA/Colección Constantini, “Políticas de la Diferencia: Arte iberoamericano fin de siglo,” (guest curator: Virginia Pérez Ratton), Buenos Aires, Argentina, December, & Centro de Convenciones de Pernambuco, Recife, Brazil, July; organized by Generalitat Valenciana (catalog).
 * 2001 - Lehigh University Art Galleries, “Latin American Artist-Photographers,” Bethlehem, PA, (catalog).
 * 2001 - The Art Gallery at University of Maryland, “Opened Book,” (guest curator: Kristen Hileman), College Park, MD.
 * 2000 - El Museo del Barrio, “Latin American Artist-Photographers,” (guest curator: Ricardo Viera), New
 * York, NY.
 * 2000 - Corcoran Gallery of Art, “Dedicated to Art: 2000 Faculty Exhibition,” CCAD, Washington, D.C..
 * 1999 - Centro de la Imagen, Frontera: Bienal Internacional de Fotografía, (guest curator: José Antonio Navarrete, Mexico, DF, Mexico, (catalog; traveling).
 * 1999 - Centro Cultural Recoleta, “El ojo del milenio: Arte de las Américas,” Buenos Aires, Argentina.
 * 1999 - Art Museum of the Americas, “Mastering the Millenium: Art of the Americas,” Washington, D.C., (catalog).
 * 1998 - Musée de l’Histoire Vivante, “Archives des lointains: Mois Off de la Photo à Paris 98,” (guest curator: Christian Gattinoni), Paris-Montreuil, France, (catalog).
 * 1998 - Musée de l’Arles Antique, “Cultes intimes,” 29ème Rencontres internationales de la photographie, (guest curator: Christian Gattinoni), Arles, France, (catalog).
 * 1998 - Rosslyn Spectrum Gallery, “Say the Word- DeMoss, Hasbun, Revere,”Arlington, VA.
 * 1998 - District Fine Arts, “Within the Surroundings-de Borja, Hasbun, Kirtland,” (guest curator: Ken Ashton), Washington, D.C..
 * 1998 - Projectspace, “Visual Arts Fellowship Recipient Exhibition,” Washington, D.C..
 * 1997 - The Washington Design Center, “Contemporary Photography of Iberoamerica,” Washington, D.C., (catalog).
 * 1997 - Arts Club of Washington, “Latino Festival,” (guest curator: Félix Angel), Washington, D.C..
 * 1997 - Arsenal de la Marina, “Muestra de Fotografía Latinoamericana,” San Juan, Puerto Rico, (catalog).
 * 1997 - The Dimock Gallery, “Faculty Show,” George Washington University, Washington, D.C.,.
 * 1996 - Centro de la Imagen, “Muestra de Fotografía Latinoamericana,” V Coloquio de Fotografía Latinoamericana, México, DF, (catalog).
 * 1996- The Chrysler Museum, “Light Images ‘96,” (guest curator: Alison D. Nordström), Norfolk, VA, (catalog).
 * 1995 - Harn Museum of Art, “Images of Silence: Photography from Latin America & the Caribbean of the ‘80s,” Gainesville, FL.
 * 1995 - Ellipse Arts Center, “All Together Now: Artists at Work In the Community,” ‘Photos & Other Treasures,’ Arlington, VA, (catalog).
 * 1995 - Fine Arts Gallery at UMBC, “7 Views,” (guest curator: David Yager), Baltimore, MD, (catalog).
 * 1994 - Galería el laberinto, “Foto: Hasbun, González Palma, Paredes,”San Salvador, El Salvador.
 * 1994 - Bibliothèque nationale de France, “La matière, l’ombre, la fiction,”Paris, France, (catalog).
 * 1994 - Centre Photographique d’Ile de France, “Israéliens-Palestiniens,”Pontault-Combault, France, September, (catalog); also at the Grand Halle de la Villette, Paris.
 * 1994 - The Chrysler Museum, “Light Images ‘94,” (guest curator: Adam Weinberg), Norfolk, VA, (catalog).
 * 1993 - Ellipse Arts Center, “12th Washington, D.C. Area-wide Photo Show,” (guest curator: Merry Foresta), Arlington, VA.
 * 1993 - Galería Sol del Río, “Una visión de la fotografía latinoamericana,” Guatemala, Guatemala, (brochure).
 * 1993 - Spectrum Gallery, “New Impressions: Photography in the ‘90’s,”(guest curator: Will Stapp), Rochester, NY.
 * 1993 - Maison de l’Amérique Latine, “L’Amerique dans tous ses états,” Paris, France, (catalog).
 * 1993 - Museu de Arte Contemporaneo, “Salón latinoamericano del desnudo,” NaFOTO: International Month of Photography, Sao Paolo, Brazil.
 * 1992 - Galerie L’imaginaire, “Salón latinoamericano del desnudo,” Alliançe Française, Lima, Perú.
 * 1992 - Silver Image Gallery, “The Nude: Classic Image,” Seattle, WA.
 * 1992 - A. Salon Ltd, “D.C. Commission on the Arts Grantees,”(guest curator: Sammy Hoi), Washington, D.C..
 * 1992 - The Dimock Gallery, “Faculty Show,” GWU,, Washington, D.C..
 * 1991 - Galería el laberinto, “Vecinos,” San Salvador, El Salvador.
 * 1991 - Abington Art Center, “Photography ‘90,” (guest curator: Duane Michals), Jenkintown, PA.
 * 1991 - Galería Imaginaria, “El mito de la imagen,” Antigua Guatemala, Guatemala.
 * 1991 - Bronx Museum of the Arts, “Images of Silence: Photography from Latin America and the Caribbean in the ‘80’s,” Bronx, NY; also at Museo de Arte Contemporáneo, San Juan, PR; Galería de Arte Moderno, Santo Domingo, Dominican Republic.
 * 1989 - Galería el laberinto, “Foto 150: Hasbun, González Palma, Hasbun,” San Salvador, El Salvador.
 * 1989 - Art Museum of the Americas, “Images of Silence: Photography from Latin America...,” (catalog).
 * 1989 - Arts Club of Washington, “Washington Invitational 1989: Six Photographers,” Washington, D.C..
 * 1989 - Galería el laberinto, “5 x 5 = 5,” San Salvador, El Salvador, (brochure).

Curated Exhibitions

 * 2017 - Centro Cultural de España, “Vivencias: Legado,” San Salvador, El Salvador.
 * 2016 - Centro Cultural de España, “legado y memoria: trazando el laberinto / legacy and memory:
 * mapping the labyrinth,” San Salvador, El Salvador.
 * 2012 - Art Museum of the Americas and MARTE, “Two Museums, Two Nations, One Identity”,
 * Washington, D.C. and San Salvador.
 * 2011 - Latin American Youth Center, “PhotoTodos: Collaborative Work with Corcoran students and LAYC
 * youth,” Washington, D.C..
 * 2011 - Gallery 31, Corcoran College of Art + Design, ”PhotoTodos: Collaborative Work with Corcoran
 * students and Latin American Youth Center youth,” Washington, D.C..
 * 2011 - Gallery 31, Corcoran College of Art + Design, Indie Photo Library (guest curator), Washington, D.C.
 * 2010 - Gallery 31, Corcoran College of Art + Design, “Currency/Exchange: Corcoran Students’ Work from El Salvador Seminar & Study Away” Washington, D.C.
 * 2008 - Gallery 31, Corcoran College of Art + Design, “FotoViajeros,” Washington, D.C.

Collections

 * Art Museum of the Americas, Washington D.C., U.S.A
 * Bibliothéque Nationale de France
 * Bert Hartkamp Collection, Amsterdam, The Netherlands.
 * Bibliothèque nationale de France, Paris, France.
 * District of Columbia’s Art Bank, Washington, D.C., USA.
 * Elmhurst Art Museum, Elmhurst, IL, USA.
 * El Museo del Barrio, NY, NY, USA.
 * En Foco, Bronx, NY, USA
 * Galería el laberinto, San Salvador, El Salvador.
 * Lehigh University Art Galleries, Bethlehem, PA, USA.
 * The Montgomery County Public Art Trust Collection, MD, U.S.A.
 * Smithsonian American Art Museum, Washington, D.C., USA.
 * The George Washington University, Washington, D.C., USA.
 * The University of Texas, Austin, Texas, USA.

Awards

 * Smithsonian National Portrait Gallery, 2019 Outwin Boochever Portrait Competition, Semi-finalist, Washington, D.C. (judging for finalists in progress).
 * Chatauqua, University of Colorado, 2019 Archive Transformed: CU Boulder Artist/Scholar Collaborative Residency.
 * CENTER Review Santa Fe, Producer’s Choice, (Keith Jenkins), 2nd Place Award, 2018.
 * CENTER, Review Santa Fe, Curator’s Choice, (Corey Keller), 2nd Place Award, 2017.
 * Sondheim Prize, Semi-finalist, 2017.
 * Anonymous Was a Woman, Nominated, 2016.
 * FY17 Arts & Humanities Council of Montgomery County Artist Project Grant, 2016.
 * Centro Cultural de España de El Salvador Artist in Residence, 2016.
 * Smithsonian National Museum of Natural History Fellow, 2015-2016.
 * Maryland State Arts Council Individual Artist Award in Photography, 2015 & 2012.
 * Centro Cultural de España de El Salvador Artist in Residence, 2015.
 * Howard Chapnick Grant of the W. Eugene Smith Memorial Fund, 2014.
 * Smithsonian Artist Research Fellowship, 2014.
 * U.S. Department of State and American Association of Museum’s “Museums Connect” grant, lead artist, curriculum advisor and curator for “Two Museums, Two Nations, One Identity,” AMA-Art Museum of the Americas and MARTE, Washington, D.C. and El Salvador, 2011-12.
 * FotoWeek D.C. International Awards Competition, Honorable Mention: Portrait, Wash., D.C., 2011.
 * Escuela de Bellas Artes Artist in Residence, San Miguel de Allende, Mexico, 2010.
 * Museo de Arte de El Salvador-MARTE, Artista del mes, San Salvador, El Salvador, 2009.
 * U.S. Department of State J. William Fulbright Foreign Scholarship Board - Fulbright Scholar Award,2006-08.
 * Maryland State Arts Council Individual Artist Award in Media, 2008.
 * Arts & Humanities Council of Montgomery County, Md. FY08 Creative Projects Grant, 2007.
 * Corcoran College of Art + Design Outstanding Creative Research Faculty Award, 2007.
 * The No Strings Foundation, Finalist, Los Angeles, CA, 2006.
 * Corcoran College of Art + Design Faculty Development Grant, Washington, D.C., 2013, 2010, 2006, 2004, 2003, 2001 & 1998.
 * 50th Venice Biennale, Represented El Salvador, 2003.
 * The Janice Goldsten Community Artists Program Grant, The Jewish Federation of Greater Washington, Rockville, Maryland, in collaboration with the D.C. Jewish Community Center, Washington, D.C., 2000-2001.
 * D.C. Commission on the Arts & Humanities/National Endowment for the Arts Individual Artist Fellowship, 1999, 1996, 1994 & 1991.
 * The George Washington University 175th Anniversary Academic Program Grant, Related Destinies: The Children of Abraham throughout the World, 1996.
 * First Place Black & White, (Merry Foresta), 12th Wash. D.C. Photo Show, Ellipse Arts Center, Arlington, VA, 1993.
 * Honorable Mention: (W. Stapp), New Impressions, Spectrum Gallery, Rochester, NY, 1993.
 * D.C. Commission on the Arts & Humanities/NEA Technical Assistance Recipient, 1993.
 * Cecille R. Hunt Prize, Washington, D.C., 1988.
 * Patricia M. Toel Memorial Prize, Washington, D.C., 1988.
 * David Lloyd Kreeger Award in Photography, Washington, D.C., 1985.

Essays

 * "Galería el laberinto: Art in a Time of War. Diálogo", vol. 20 no. 1 pp. 165-172. Project MUSE, 2017.
 * "Here and There: Forging Relationships Across Borders, Cultures and Generations,” U.S.Department of State & Fulbright website, 2008.
 * “FotoViajeros: International Experience / Transnational Identity,” Corcoran Gallery of Art website, 2008.
 * “Catherine Day’s Elegies,” exhibition brochure, Loyola College, MD 2007.
 * “Anri Sala: In Translation,” in Memorials of Identity: New Media from the Rubell Family Collection, Contemporary Arts Foundation, 2006.
 * “Protegida: Auvergne-Ave Maria.” S&F Online, 2003, sfonline.barnard.edu/cf/hasbun.htm.
 * “Saints and Shadows.” Zone Zero, v1.zonezero.com/exposiciones/fotografos/muriel2/default.html.