“Group Material’s ‘Art for the Future’: Visualizing Transnational Solidarity at the End of the Global Cold War,” in Cold War Camera, ed. Thy Phu, Andrea Noble, and Erina Duganne. Durham: Duke University Press, 2023.

Directed by Erina Duganne, Muriel Hasbun: to tell your story in pieces, as it is, 2022–23, traces the memories of Salvadoran artist Muriel Hasbun through her photographic work.

270 is a series of short films created to preserve and amplify the rich contributions of Latin American artists. Each film is one artist’s homage to another, resulting in an intimate portrait of a single living artist whose work has shaped engagement with contemporary art.

The series title, 270, alludes to the concise length of the films, varying at brief vignettes of around 270 seconds or four and a half minutes. The resulting films capture facets of each artist’s life and creative journey, shining a light on the networks that have supported artistic production and celebrating the subjects’ contributions to our shared cultural histories.

The 270 film series was produced by the Institute for Studies on Latin American Art (ISLAA), New York, with creative direction from Julio Grinblatt.

Directed by Erina Duganne
Featuring Muriel Hasbun
Produced by Julio Grinblatt
Translated by Muriel Hasbun

Thanks to Muriel Hasbun and Alexander Alberro

All works © and courtesy Muriel Hasbun

© Institute for the Studies on Latin American Art (ISLAA)

“Border Thinking with Borderland Collective,” in Otherwise It Would Be Just Another River: Ten Years of Borderland Collective’s Practice in Dialogue and Collaboration, ed. Jason Reed and Molly Sherman (Leipzig, Germany: Spector Books, 2022).

“Registers for the Future: Muriel Hasbun’s Pulse,” essay for Muriel Hasbun: Seismic Traces, Center for Women in the Arts and Humanities, Rutgers, The State University of New Jersey, 2021.

“From Monuments to Models: The Counter-Temporality of Artists Call,” in Art for the Future: Artists Call and Central American Solidarities, ed. Erina Duganne and Abigail Satinsky. Los Angeles: Inventory Press, 2022.

“There was no record of her smile: Muriel Hasbun's X post facto,” in Contact Zones: Photography, Migration, and Cultural Encounters in the United States, ed. Justine Carville and Sigrid Lien (Leuven University Press, 2021).

“Family Folktales: Carrie Mae Weems, Allan Sekula, and the Critique of Documentary Photography,” in English Language Notes, "The Shape of I: A Double Issue," ed. Julie Carr and John-Michael Rivera (Fall/Winter 2011).

Republished in Carrie Mae Weems, ed. Sarah Elizabeth Lewis with Christine Garnier (Cambridge: The MIT Press, 2021).

“In Defense of Solidarity”, Latin American and Latinx Visual Culture (2020) 2 (2): 99–103.

Republished in Solidarity Must Be Defended, ed. Eszter Szakács and Naeem Mohaiemen (Budapest: tranzit.hu, 2023).

“Unlearning Street Photography from the Kamoinge Workshop,” in Working Together: Louis Draper and the Kamoinge Workshop, ed. Sarah L. Eckhardt (Durham: Duke University Press 2020).

“From the Memory Books of Josely Carvalho,” in “Decolonizing Contemporary Latin American Art,” ed. Florencia San Martin and Tatiana Flores, special issue, Arts 8, no. 3 (September 2019).

In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.

“The Nicaragua Media Project and the Limits of Postmodernism,” The Art Bulletin 100, no. 1 (March 2018): 146-168.

In the 1980s, the United States general public learned and formulated opinions about human rights conflicts in Nicaragua largely through photography. To counter misperceptions perpetuated by these images, in 1984, a group of photographers and critics organized The Nicaragua Media Project. The exhibition relied on two primary strategies: postmodernism’s critique of representation and so-called oppositional images. These seemingly antithetical approaches are taken up here to both enlarge the global scope and function of postmodernism’s critique of representation and consider some of its limitations, especially as a model for addressing photography’s potential to forge international solidarity in affective and visual terms.

"Not Just Pictures: Reassessing Critical Models for 1980s photography," introduction to "Beyond the Pictures Generation," a special issue of photographies, ed. Heather Diack and Erina Duganne (September 2017).

This special issue, entitled "Beyond the Pictures Generation," reassesses critical models for 1980s photography by addressing international human rights conflicts for which Cold War realities were paramount and art world ambivalence was not a viable option.

"Becoming 'Der Indianer': Andrea Robbins and Max Becher’s German Indians," in Crossroads in American Studies: Transnational and Biocultural Encounters, ed. Frederike Offizier, Marc Priewe, and Ariane Schröder (Winter 2016).

Uneasy Witnesses: Broomberg, Chanarin, and Photojournalism’s Expanded Field

In Getting the Picture: The History and Visual Culture of the News, edited by Vanessa Schwartz and Jason Hill (Bloomsbury Publishing 2015)

“The Photographic Legacy of Lyndon Baines Johnson,” Photography & Culture 6, no. 3 (November 2013): 303-324.

“Black Civil War Portraiture in Context,” Mirror of Race (April 2012).

“The Kamoinge Workshop in Context: An Interview with Louis Draper, Albert Fennar, Beuford Smith,” exposure, The Journal of the Society of Photographic Education (Spring 2011).

"Photography After the Fact," in Beautiful Suffering: Photography and the Traffic in Pain, ed.Mark Reinhardt, Holly Edwards, and Erina Duganne (Chicago University Press, 2007).