photography project, 1946–1948; Canyon de Chelly
project, 1968–1979. Teaching: Instructor in Photogra-
phy Chappell School of Art, 1926–1930; Colorado
Springs Fine Art Center, 1930, 1940–1941. Recipient of
(selective): Medal International Salon, Madrid, 1935;
Award of Merit, Photographic Society of America,
1947; Research Grant School of American Research,
Santa Fe, 1971; John Guggenheim Simon Memorial
Fellowship, 1975. Died in 1979.Selected Works
The Prairie, 1917
Round Tower, Cliff Palace, Mesa Verde, Colorado, 1925
Rio Grande Yields Its Surplus to the Sea, 1947
Storm from La Bajada Hill, New Mexico, 1940
Chance Meeting in the Desert, 1950
Selected Publications
The Enduring Navajo. University of Texas Press, 1968
The Rio Grande: River of Destiny. Duell, Sloan & Pearce:
New York, 1949
Temples of Yucatan: A Camera Chronicle of Chichen Itza.
New York: Hastings House, 1948
The Pueblos: A Camera Chronicle. New York: Hastings
House, 1941
Selected Individual Exhibitions
1918 Clarence H. White School, New York
1934 Library of Congress. Washington, D.C.
1946 Museo Arqueolo ́gico e Histo ́rico de Yucata ́n, Me ́rida,
Mexico
1957 Laboratory of Anthropology, Santa Fe, New Mexico
1978 Amon Carter Museum, Fort Worth, TexasSelected Group Exhibitions
1975 Women in Photography. San Francisco Museum of Art,
San Francisco, California
1981 11 photographers of Santa Fe, Arles, France
1996 Women of the Clarence White School. Howard Green-
berg Gallery, New YorkFurther Reading
Davidov, Judith F. ‘‘Always the Navaho Took the Picture.’’
InWomen’s Camera Work. Durham: Duke University
Press, 1998. 103–155.
Goldberg, Jonathan.Willa Cather and Others. Durham:
Duke University Press, 2000.
Sandweiss, Martha. ‘‘Laura Gilpin and the Tradition of
American Landscape Photography.’’ In Vera Norwood
and Janice Monk, eds.The desert is no lady: Southwest
landscapes in women’s writing and art. New Haven, CT:
Yale University Press, 1987.
Sandweiss, Martha.An Enduring Grace. Fort Worth, TX:
Amon Carter Museum, 1986.HERVE
́
GLOAGUEN
French
Herve ́Gloaguen belonged to the tradition of twenti-
eth-century photo-reporters who defined themselves
as socially aware photographers. As a founding mem-
ber of the Agence Viva in France, he wanted to create
a new way of reporting and photographing social
events. Active in both color and black-and-white
photography, he concentrated on the former without
neglecting any genre: natural and urban landscapes,
group or single portraits are common in his work.
BorninRennesin1937,Gloaguengrewupandwas
educated inBrittany. His talent for drawing and early
interest in photography led him to enter the E ́cole des
Beaux-Arts de Rennes in 1957. A year later, he was
admittedtotheE ́coletechniquedephotographieetde
cine ́matographie (ETPC), better known as the E ́cole
de Vaugirard, in Paris. However, his results were
unsatisfactory, and he dropped out of the school
after six months.
Now settled in Paris, Gloaguen worked as an
apprentice at Photo-Littre ́, where he learned basic
photo laboratory skills. Between 1960 and 1962, he
performed his compulsory military service in the
Navy and joined its photo and cinema agency at the
Fort d’Ivry, near Paris. At this same time, Gloaguen
was an amateur jazz musician, which triggered his first
Parisian photographs of concerts and theatre shows.
He also used short leaves from the Navy to visit and
take photographs in Portugal, Spain, and Belgium.GILPIN, LAURA