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Thick as Thieves: A First Look at The Whyte's Upcoming Summer Exhibition

Back to The Cairn The Whyte is proud to present Thick as Thieves and When Our Eyes Touch this summer, running from May 1 to November 8, 2026. Join us for the exhibition opening on Friday, May 1st, at 7 pm. This event is free and open to the public - all are welcome. Lead Image for Thick as Thieves . Esmaa Mohamoud, Deeper the Wounded, Deeper the Roots (1) , 2019. Archival pigment on paper, 3edition 1 of 5 (1 AP). Collection of the MacKenzie Art Gallery. Photo: Don Hall. Thick as Thieves is a touring contemporary exhibition that explores connection, influence, and unseen relationships that shape our world. Through powerful visual narratives and layered storytelling, the exhibition invites visitors to reflect on themes of trust, power, and community. This exhibition is organized and circulated by the MacKenzie Art Gallery and curated by nationally recognized curator Crystal Mowry. The Thick as Thieves exhibition at The Whyte invites visitors into these questions through works forged in intense and often covert forms of connection. Running alongside the feature exhibition, in the Rummel Room, you will find When Our Eyes Touch , a selection of portrait paintings by founders Peter Whyte and Catharine Robb Whyte, created over the course of their lives and drawn from the museum’s collection. When asked about her motivation for bringing these exhibitions to The Whyte, Christina Cuthbertson, Chief Operating Officer and Curator at The Whyte, explains: The Whyte was built with the generous support of Peter and Catharine Whyte, who were trailblazing artists and community leaders. Their strong ties with the Stoney community led to the formation of an impressive collection of Stoney belongings. As we look at these relationships with the benefit of hindsight, we can see the wider cultural forces that shaped them – including both power imbalances and mutual respect. Thick as Thieves , as well as the accompanying exhibition When Our Eyes Touch , offers an opportunity to examine our own relationality and subject positions with greater nuance and humility as we move through an increasingly polarized world. Presented together, Thick as Thieves and When Our Eyes Touch open a wider conversation about how connection can be intimate, strategic, sustaining, and complicated, sometimes all at once. Visitors can expect works that move between critique and quiet intensity, inviting reflection on what bonds us to one another and what those bonds can conceal. About The Exhibition Thick as Thieves How is an exhibition like a plot? The interrelations between artworks, like the artists who make them and the public who encounter them, yield conspiracies and allyships. Each object can be an agent – a powerful symbol of the various bonds that we nurture or conceal throughout our lives. From an early age, we learn that resilience comes from connection, whether with other living beings, to a particular context, or as part of an exclusive network. Thick as Thieves brings together works forged in intense and often covert forms of connection. Drawn largely from the MacKenzie’s Permanent Collection, this selection of works invites us to consider how themes of fidelity, mutual desire, and fraternity formed by circumstance or power have held the interest of contemporary artists. This exhibition is organized and circulated by The Mackenzie Art Gallery and is curated by Crystal Mowry. About The Lead Image Deeper the Wounded, Deeper the Roots (1) is part of a three-photograph series by artist Esmaa Mohamoud. In this three-photograph series, artist Esmaa Mohamoud uses the language of metaphor to capture the experience of Black bodies in Western history and to call out the unceasing exploitation of Black body labour that has persisted until today. Reflecting on this history of Black Canadians and the history of Anti-Blackness worldwide, Mohamoud draws comparisons between two different—but similar—fields. On both grounds, Black bodies continue to be exploited for industrial profits, crops then and sports entertainment now. The men in the photos outfitted in Mohamoud’s custom-made jerseys stand tall in the field. Having their backs to the viewers, they cast their gazes beyond the idyllic horizon as a gesture of hope and self-determination. MacKenzie Art Gallery. (n.d.). Human Capital: Works in the exhibition . Artists in the Exhibition Deanna Bowen, Tammi Campbell, Lynne Cohen, David Furman, General Idea, Guerilla Girls, Jenny Holzer, Spring Hurlbut, August Klintberg, Marilyn Levine, Micah Lexier, Arnaud Maggs, Esmaa Mohamoud, Evan Penny, Wilf Perreault, Auguste Rodin, Amanda Strong, Inglis Sheldon-Williams, and Nic Wilson. Plan Your Visit Thick as Thieves and When Our Eyes Touch run from May 1 to November 8, 2026, at The Whyte. Visit our website to plan your visit, explore admission details, hours, and upcoming public programs. Back to The Cairn

An Alpine Trilogy and Second Take - Winter 2025/26 Exhibitions at The Whyte in Photos

Back to The Cairn Winter exhibition opening for Elise Rasmussen - An Alpine Trilogy This winter, a renewed energy filled The Whyte as the museum welcomed a major contemporary solo exhibition by multidisciplinary artist Elise Rasmussen, An Alpine Trilogy . Presented alongside it in the Rummel Room, Second Take: Histories of Film in the Rockies offers a complementary journey through cinematic and cultural memory. Together, these exhibitions invite visitors to take a reflective approach to familiar mountain imagery and narratives, and reconsider the layered histories, mythologies, and cultural forces that have shaped how alpine landscapes are seen and understood. Together, these exhibitions offer a holistic and interdisciplinary experience to viewers, blending film, science, archives, and art — a defining feature of Banff winter exhibitions at The Whyte. Elise Rasmussen: An Alpine Trilogy Curated by Christina Cuthbertson, An Alpine Trilogy brings together three interconnected projects: Did You Know Blue Had No Name? , The Year Without a Summer , and Nostalgia: A Return to the Alps in Five Vignettes . Presented together for the first time at The Whyte, the trilogy resonates deeply in Banff, reflecting on the interplay between history, science, and myth within alpine environments. Rasmussen asks us to look past the postcard alpine sublime and notice the instruments, both scientific and cultural, that made those views possible. Christina Cuthbertson, Chief Operating Officer and Curator Opening weekend featured an intimate Artist Talk and Q&A with Rasmussen and Cuthbertson, offering visitors deeper insight into the research, process, and ideas behind the work. In an interview with Rasmussen , she reflected on the exhibition's connection to place: I am really excited to show this work at The Whyte as it feels like it is coming full circle in returning to the place where it was first conceptualized. Although the works relate directly to the Swiss/French Alps, there are nods to my roots of having grown up in Alberta and having spent a lot of my childhood in the Rocky Mountains. I do think there are a number of parallels that can be drawn between the Alps and Banff, not only with regard to mountain-scapes and mountaineering, but also in considering how tourism has shaped these places and how climate change is a visible threat to these environs. The Whyte has an incredible collection of archives, which I have only recently discovered, and this is a wonderful resource that fits nicely with my working methodology, and may lead to future work. Throughout the season, visitors have described the exhibition as thought-provoking , beautifully presented , and deeply engaging . Second Take: Histories of Film in the Rockies Running alongside An Alpine Trilogy , Second Take: Histories of Film in the Rockies explores how the Canadian Rockies have appeared on screen for more than a century, serving as a backdrop, a stand-in, and a cinematic myth. Drawing from The Whyte Archives & Special Collections, the exhibition traces how film shaped perceptions, identity, and stereotypes of Canada from the silent era to the late twentieth century. Curated by Elizabeth Kundert-Cameron, Dagny Dubois, Kate Riordon, and Brittany Staddon, with special mention to Travis Rider and Colleen Crawler, Second Take highlights both the pride and the paradox of seeing the Rockies on screen, celebrated yet often misrepresented. The exhibition reflects on how cinematic storytelling continues to shape cultural memory and identity today. Experience the Exhibitions Elise Rasmussen: An Alpine Trilogy and Second Take: Histories of Film in the Rockies are on view until April 12, 2026 . Visitors are encouraged to spend time with the works, attend guided tours, and explore the ideas, histories, and questions that unfold across both exhibitions. Plan your visit and discover what’s next at whyte.org Gallery 1 About the Exhibition Elise Rasmussen: An Alpine Trilogy Elise Rasmussen, Did you know blue had no name? (film still), 2018 November 1, 2025, to April 12, 2026 Elise Rasmussen: An Alpine Trilogy brings together three interconnected bodies of work that resonate deeply in Banff, where mountain culture converges with narratives of conquest, grandeur, and nostalgia. Through rigorous research and lens-based media, she creates richly textured works that recast traditional narratives of history and nature in the French and Swiss Alps. The trilogy comprises three interconnected projects: Did You Know Blue Had No Name? In this project, Elise interrogates the concept of “blueness” by exploring diverse historical narratives. She revisits Horace-Bénédict de Saussure’s 18th-century cyanometer—a device designed to measure the sky’s blueness—and the contest that spurred the first expedition to Mont Blanc. Additionally, she examines early photographic challenges in capturing blue skies and the resulting questions about the medium’s authenticity. By tracing how the language and symbolism of blue emerged only after it became a tangible pigment, Elise prompts critical reflections on visibility, innovation, and the construction of knowledge. The Year Without a Summer Named for the climatic anomaly of 1816, this piece connects historical episodes of environmental disruption with today’s climate crises. Drawing inspiration from the tempestuous summer that influenced the Romantic aesthetics of artists like J.M.W. Turner and Casper David Friedrich—and the literary imagination of Mary Shelley—Elise layers diaristic accounts, Sumbawan folklore, and her own evocative travel reflections. This work re-examines the cultural and social impacts of environmental change while inviting viewers to consider the enduring interplay between human history and nature. Nostalgia: A Return to the Alps in Five Vignettes Drawing on the origins of “nostalgia” (a term coined in 1688 by Johannes Hofer), this film explores the Alps as symbols of both idyllic retreat and therapeutic promise. It scrutinizes how the Alps have historically embodied health, wellness, and an escape from industrial urban pressures—from Romantic ideals to modern quests for purity in nature. In the context of today’s global crises, this work serves as a meditation on the complex longing for a harmonious existence with the natural world. This exhibition is organized by The Whyte and curated by Christina Cuthbertson. About the Exhibition Second Take: Histories of Film in the Rockies Director Ernst Lubitsch and unidentified cameraman during filming of Eternal Love , 1928. Starring John Barrymore and Camilla Horn. Peter and Catharine Whyte fonds (V683/ii/a/pa/506) November 1, 2025, to April 12, 2026 For over a century, the Canadian Rockies have been used as a backdrop for Hollywood adventure epics, melodramas, westerns, and comedies. Whether these movies were meant to highlight the Canadian landscape or simply have the scenery stand in for elsewhere, the silver screen influenced how moviegoers see Canada. Drawing from The Whyte Archives & Special Collections, Second Take: Histories of Film in the Rockies explores how Canadian identity and stereotypes grew and changed from the silent era to the turn of the century. By highlighting the experiences of the Bow Valley community members involved in select productions, we peek behind the scenes of what it takes to create the fantasy of uninhabited wilderness, lurking enemy danger, stalwart heroes, and damsels in distress. Using titles from the silent era, the summer of 1953, and the late twentieth century, Second Take examines how the Canadian Rockies were transformed into the Cypress Hills of Saskatchewan, the wilds of Alaska, and the foothills of Montana by the magic of Hollywood. Local landmarks, framed as these far-flung locations, changed audiences’ expectations of reality and Canadians’ sense of place. An uncanny duality emerges, one of local pride in seeing the Rockies on the silver screen and the frustration wrought by their inherent misrepresentation. This exhibition illustrates the beauty and ridiculousness of Hollywood’s Canada, elements that linger in our collective imaginations and popular culture to this day. This exhibition is organized by The Whyte and curated by Elizabeth Kundert-Cameron, Dagny Dubois, Kate Riordon, and Brittany Staddon, with special mention to Travis Rider and Colleen Crawler. Want to learn more about our exhibitions? Visit our website and stop by this winter to view them in person! Visit us at 111 Bear Street, Banff, AB. These exhibitions run until April 12th, 2026! Gallery 1: Photos from the Winter 2025/26 exhibition opening at The Whyte. Photos by Katie Goldie. Back to The Cairn

Building the Exhibition: Peter and Catharine Whyte, Assiniboine Camp 1937

Back to The Cairn By Amie Lalonde, Registrar and Assistant Curator As we prepared for our winter exhibitions, we knew we wanted to put up a wall of Peter and Catharine’s art to stay connected to our roots. Having hung many a “P&C” exhibit before, I knew I wanted to take a somewhat different look at some of their art. Peter Whyte’s Mount Assiniboine in September Snow has always been one of my favourite paintings of his, and while looking through the catalogue of their work, I realized that there were many more paintings from Assiniboine in 1937 than I had realized. The exhibit includes 15 of the 17 oil sketches that remain in our collection from that trip. A further three studio works were completed by Peter sometime after returning home from the backcountry. As a big fan of Mount Assiniboine, I immediately saw potential for an exhibition focused on this trip - shaped into what is now presented as Peter and Catharine Whyte Assiniboine Camp 1937 . PETER WHYTE (1905 – 1966, CANADIAN), Mount Assiniboine in September Snow , 1937, oil on canvas, WyP.01.060. Peter made two near-identical sketches of this scene and a larger studio work. I went to our online database to take a look at Catharine Whyte’s letters to her mother, which were digitized in 2021 . I found that Catharine had written a short letter to her mother on September 15, telling her they were leaving for Assiniboine the next day. She wrote another short letter on September 19 and longer letters on the 22nd and 30th, in which she discussed the camp, painting, and the weather in great detail. After returning to Banff, she wrote another long letter on October 5, chronicling the snowy journey home. One of my favourite aspects of these letters was reading Catharine’s description of several scenes that she and Peter painted. My favourite example of this is in her September 22nd letter, where she described how the yellow larches looked under a blanket of fresh snow: Letters to Mother, June - October 1937, Peter and Catharine Whyte fonds (M36 / I / A / 2b / i / 102 / 39 – 42 ) “It really is lovely the trees so bowed down with snow as there has been no wind. Its light snow too. The larch trees lost lots of branches as their needles are still on. But pretty where you can see them yellow under the snow. It gives quite an idea of how it would look in winter.” CATHARINE ROBB WHYTE, O. C. (1906 – 1979, CANADIAN), Larch in Snow (Mt. Assiniboine Trip), 1937, oil on canvas, WyC.01.023 PETER WHYTE (1905 – 1966, CANADIAN), September Snow on Larch, Assiniboine, 1937, oil on canvas, WyP.01.062 Both Peter and Catharine deftly captured this in their own styles: Catharine focusing on a single larch against bright snow (likely during a break in the storm), and Peter’s dark, more abstract representation that looks as if it were painted in the thick of the snowstorm. By arranging the art in a rough chronological order, I hoped viewers would experience the Assiniboine trip as Peter and Catharine did – from the bright, sunny autumn days, the drama of the oncoming storm, and finally, the landscape blanketed in white. On our online database, I also came across photographs that Peter took during that trip, which I had never seen before. These photographs were special because Peter had written descriptions on the backs, something he did not often do. Between the paintings, Catharine’s letters, and these photographs, I knew this would make a compelling mini-exhibition. PETER WHYTE (1905 – 1966, CANADIAN), September Snow on Larch, Assiniboine, 1937, oil on canvas, WyP.01.062 Mount Assiniboine and hut, 1937, Peter and Catharine Whyte fonds (V683 / III / A / 5 / PA – 282) The bulk of Peter’s photographs were from the return trip to Banff, and along with Catharine’s October 5 th letter, we have a pretty comprehensive picture of the journey. One of the highlights for me was Catharine describing how Yuk Soy Goon, aka “Sunshine”, who was the cook at Erling Stom’s Assiniboine camp, was bundled up against the storm in “… high heeled boots of Chucks. Old tweed plus-fours of Erlings, someone’s checkered woolen shirt + his own sweater, a cap, over which he tied a pink-bordered bath towel fastened with a safety pin under his chin + over everything trailing behind a bright yellow slicker. He had to loop this over his arm like a train when he walked.” Pairing this description with Peter’s photograph, we can imagine exactly what his outfit looked like – and with a little help from Photoshop, we can almost see it – reminding us that the past was actually just as colourful as today. Yuk Soy Goon on horseback, 1937, Peter and Catharine Whyte fonds (V683 / III / A / 5 / PA – 270) Peter’s photographs and note on going up Brewster Pass give us an idea of the conditions that the group faced on their two-day journey out. Pack train, 1937, Peter and Catharine Whyte fonds (V683 / III / A / 5 / PA – 276) Catharine’s account expands further; she tells her mother that: “It was nearly four when we ate our sandwiches and had a little tea at the foot of Brewster Pass, and then it began snowing hard as we slowly climbed up to the tree line and above on Brewster. We went through a whole flock of Ptarmigan, already turning white. It snowed harder all the whole and as we got above the trees it was harder to see as everything was white. The snow on the ground was deeper and deeper & on us too. Finally we had to get off the horses and walk. It was more floundering as the snow had drifted and was nearly two feet deep. Poor Sunshine with his trailing slicker was having a hard time of it. His first time on a horse was on the way out to Assiniboine and this was his second time only….” “the snow was three feet deep in most places near the top and the horses floundered up to their bellies in the drifts…” “The side hill was rather uncomfortable as the edge was soft and the horses hind legs would often slip down over the edge in rather an alarming way. In fact they all slipped and stumbled a bit which gave rather an uncertain feeling. Especially as one of the girls who was out there had her horse fall with her. She tried to get off and the horse got scared and started to run and her foot caught in the stirrup and she was dragged quite a way… but luckily was none the worse for it. However I couldn’t help but wonder what I would do if my horse fell.” It’s rare to get such a full picture of a painting trip that took place nearly a century ago. I think many artists will be able to relate to Catharine’s accounts of painting such variable weather and capturing such a vast landscape. Many locals will also relate to Peter’s glee at such a big snowfall following a disappointing winter. I encourage everyone to read Catharine’s letters in full ; if you can decipher her handwriting, they are truly a valuable resource into life in Banff nearly 100 years ago. Come to the museum to see the exhibit in full and take your own mini trip to Mount Assiniboine! Plan your visit today , wander the galleries, and take your own small expedition to Assiniboine. Visit us at 111 Bear Street, Banff, Alberta - open daily from 10 a.m. to 5 p.m. Back to The Cairn

A Century of Photographs from the Luxton Family Collection

Back to The Cairn By Brittany Staddon, Digital and Photograph Preservation Technician As I assessed the condition and digitized 120 framed photographs from the Luxton family fonds , it was evident how what we choose to frame and place on our walls reflects our priorities and interests. The Luxton Family photograph collection spans a century, from 1860 to 1960, and was carefully assembled by Norman and Georgina Luxton and their daughter Eleanor, offering a visual record of family, place, and photographic craft across generations. The oldest photographs are studio portraits from Georgina’s family, many set in elaborate frames that denote the special occasion of having a portrait taken during the late 19th century. One of my favourite projects was returning a portrait of Georgiana McDougall (1851-1870), Georgina Luxton’s paternal aunt, to its original frame, one of the most elaborate in the collection. The frame is in the Eastlake style, with ebonized wood with carved floral patterns in the corners. The oval-cut mat has carefully applied drawn golden detailing, framing the albumen print, which has been retouched to add detail to the subject’s hair and brooch. (Figure 1) Figure 1 In contrast to the refined Eastlake frame style, was that of the tramp art style, in which what would commonly be considered waste materials were used to construct practical objects - in this case, two matching frames for two unidentified people. Similarly elevated by an oval mat with hand-applied gold detailing. (Figure 2 and 3) Figure 2 Figure 3 In a rather unremarkable wooden frame from the same period is a photograph of Reverend George McDougall. On first glance, it’s a simple studio portrait - but on further inspection, it becomes apparent how meticulous J.G. Parks photography studio in Montreal was in realizing a portrait that suited the sitter’s expectations. The photograph is a composite - the background was changed after the photograph was taken. Reverend McDougall and the chair he is sitting in have been cut from the original portrait, placed on a photograph of a painted library backdrop, and the two scenes are blended in dark ink, which is likely more apparent now due to the photograph's fading. Next time you look at a late-19th-century studio portrait, check for signs of retouching! (Figure 4) Figure 4 Moving into the 20th century, the photographs primarily reflect businessman Norman Luxton’s interests: local wildlife, mountain scenery, the Tilikum, and portraits of his dogs, Barney and Larry. (Figures 5 and 6) Figure 5 Figure 6 I was particularly intrigued by a series of ten panoramic photographs taken by the Detroit Photographic Company in 1902. Taken on 8x10 glass negatives and carefully printed, these images capture popular views of the Canadian Rockies to be sold as prints and postcards to local visitors and people abroad. One of the smallest panoramas in the collection, composed of only two negatives, shows a much quainter Banff from the top of Tunnel Mountain. On the south side of the Bow River, you can view the Banff Sanitarium overlooking only a handful of houses and storefronts present at the turn of the century. (Figure 7) Another frames the Bow Valley towards Mount Rundle, showing some of the original wooden structure of the Banff Springs Hotel (Figure 8). The largest panorama, nearly 3.5 feet wide, depicts the Selkirk Mountains from Mount Abbott, which surely would not have been an easy feat to climb in 1902 with the glass negatives and large camera! (Figure 9) Taken the same year Norman Luxton first arrived in Banff to recuperate from his Pacific voyage, these panoramas act as a timepiece of the area when he first called the area home. Figure 7 Figure 8 Figure 9 Eleanor’s framed collection reflects her personal life - depicting her friends and family. As one always intrigued by process, I was interested in a photographic portrait of David Nawash McDougall, Eleanor’s maternal grandfather (Figure 10), when compared to a photomechanical print (Figure 11) likely made by referencing the portrait taken by Harry Pollard. The engraver turned David’s shoulders, straightened his tie, and trimmed his beard - providing a more refined portrait. What differences and similarities can you spot? Figure 10 Figure 11 Lastly, a favourite of the Archives is a studio portrait of May McDougall, Eleanor’s maternal aunt, and eleven friends. They are standing in a row, arm propped on their neighbour's shoulder, forming a rather uncanny scene compared with what we might generally be accustomed to in early 20th-century portraiture. (Figure 12) Figure 12 Be sure to access the newly digitized frames from the Luxton family fonds and other materials in the collection through The Whyte’s online database or by appointment by contacting archives@whyte.org . Additional information regarding the Luxton family may be accessed on the Eleanor Luxton Historical Foundation’s website . Interested in learning more about Canadian Rockies history? Book a research appointment at the Archives and Special Collections Librar y at The Whyte. Archives and Special Collections appointments are available Tuesday – Friday, 1:00 p.m. to 5:00 p.m. To make an appointment or for inquiries email: archives@whyte.org For more information on visiting The Whyte, visit us online at whyte.org/visit . The museum is open daily from 10 a.m. to 5 p.m. Image Descriptions: Figure 1: [Georgiana Luxton], [between 1867-1870], Luxton family fonds, LUX / III / D / PC - 6 Figure 2: [Portrait of unidentified man], [between 1860-1880], Luxton family fonds, LUX / III / D / PC - 4 Figure 3: [Portrait of unidentified woman], [between 1860-1880], Luxton family fonds, LUX / III / D / PC - 5 Figure 4: [Unidentified man, possibly Reverend George McDougall], [between 1865-1880], Luxton family fonds, LUX / III / D / PC - 80 Figure 5: [Tilikum with seven people in Victoria, B.C.], 1902, Luxton family fonds, LUX / III / D / PC - 50 Figure 6: [Larry and Barney O'Toole], [between 1930-1950], Luxton family fonds, LUX / III / D / PC - 83 Figure 7: Detroit Photographic Company, 01455. Up Bow Valley from Tunnel Mountain, Alberta., 1902, Luxton family fonds, LUX / III / D / PC - 92 Figure 8: Detroit Photographic Company, 01065. Down Bow Valley from Banff Springs Hotel, Alberta., 1902, Luxton family fonds, LUX / III / D / PC - 45 Figure 9: Detroit Photographic Company, 010681. The Selkirks from Mt. Abbot, 014646. Sir Donald from Mt Abbot, Selkirk Mountains, B.C., 1902, Luxton family fonds, LUX / III / D / PC - 96 Figure 10: Harry Pollard, [David Nawash McDougall portrait], [between 1900-1910], Luxton family fonds, LUX / II / F / PC - 11 Figure 11: [David Nawash McDougall portrait], [between 1900-1910], Luxton family fonds, LUX / II / F / PC - 1 Figure 12: [Panorama portrait, May McDougall and friends], [ca. 1905], Luxton family fonds, LUX / II / F / PC - 23 Back to The Cairn

Secrets and Scars in the Rockies: Banff National Park’s Internment Camps, 1915-1917

Back to The Cairn By Hannah Yuzwa, Processing Archivist Today, millions of people come from all over the world to enjoy the wonders of Banff National Park. From the mountain peaks and the roaming wildlife to museums and National Historic Sites. Tourists spend millions of dollars every year to enjoy the place we call home. Yet most travellers who pass through the Park gates never stop to think about the history around us. Many of the destinations and attractions within Banff National Park hold dark histories. The scars of confinement and betrayal haunt many Ukrainian Canadians to this day. Ukrainian History and Migration Until 1991, Ukraine was under the colonial powers of the Austro-Hungarian and the Russian Empires. Ukrainians' sense of national identity, culture, and pride was seen as a threat to the Empire’s control. Ukrainian literature was banned. Artists and activists were imprisoned or exiled. Political repression and cultural assimilation of Ukrainians continued into the 20th century. Many Ukrainians fled the persecution faced in their homeland. They saw Canada as a chance at freedom. The Canadian Government promised them citizenship and a better life. This allure of hope drew many Ukrainians to the Canadian West. They created community ties and transitioned into mainstream Canadian society. Many built schools and community centers. Loyal to their adopted home, Ukrainians worked hard to be accepted here in Canada. When their loyalty was betrayed during WWI, Ukrainians were traumatized and heartbroken. The War Measures Act and “Enemy Aliens” At the outbreak of WWI, widespread fear and distrust permeated the nation. This led the Canadian Government to enact the War Measures Act in August of 1914. The Act authorized the sweeping imprisonment and registration of people deemed "aliens of enemy nationality" (Government of Canada [Parliament] 1914). As citizens from the Austro-Hungarian Empire, Ukrainians were seen as “dangerous” to Canada and the Allies in the War. Under this law, many Ukrainians and other Eastern Europeans were labelled as “enemy aliens” and "threats" to Canada. As a result, thousands of people were detained simply because of where they came from. Figure 1: Castle Mtn. Camp. Shewing Storm Mtn taken from Castle Mtn, ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/20 accn. 6666 Ukrainians across Canada were issued identity papers. They were obligated to report regularly to local authorities. Failure to comply meant arrest and detention to one of the internment camps. Upon an individual’s arrest, their valuables and assets were confiscated and turned over to the Canadian Government (Luciuk 2006; Ukrainian Canadian Civil Liberties Association). Economically, the toll of the internment camps on Ukrainian internees was devastating. Yet, it was the trauma experienced by these people and their families that cannot be forgotten. Figure 2: Prisoners. Going into Compound., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/45 accn. 6666 Banff National Park Internment Camps From 1914 to 1920, there were 24 internment camps and receiving stations across Canada. Set up by the Department of National Defence, Canada’s First National Interment Operations incarcerated over 8,500 Ukrainians and Eastern Europeans. Just down the road, the Internment Camps at Castle Mountain and the Cave & Basin opened in 1915. These camps were the largest internment camps in the Rocky Mountains. Between 1915 and 1917, over 600 “enemy aliens” were sent to Castle Mountain (Conboy 2020; Ukrainian Canadian Civil Liberties Association). Under orders from the Department of National Defence and the Dominion Parks Branch, prisoners were sentenced to build the infrastructure and tourist sites that had once been just a dream for officials like J. B. Harkin. Figure 3: Documents, 1973, The Whyte, James Anderson-Wilson fonds, V20/PA 228 As the Commissioner of the Dominion Parks Branch, Harkin believed that nature was integral to our health as individuals. Nature also influenced the country's health and economic prosperity. Harkin dreamed of a network of Canadian National Parks. Yet, the outbreak of WWI halted his plans. Insistent on his vision, he successfully lobbied the Canadian Government to ship “alien” internees to Banff, claiming it was for the betterment of the National Parks. For Harkin and the Government, internment operations were “good for business”. So, in July 1915, the gates of Castle Mountain Internment Camp were opened (Kordan 2016; Bella 1987). Figure 4: Prisoners’ Leaving Banff for Castle Mtn, ca.1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/19 accn. 6666 The Castle camp was the first internment camp opened in the National Parks. Surrounded by barbed-wire fencing, Castle Mountain proved to be Harkin’s “ideal location” for the prisoners. Under threat from the guards, prisoners were ordered to construct the road between Banff and Lake Louise to capitalize on Harkin’s tourist agenda. The prisoners’ servitude built over six kilometres of the highway, paving the way for the future of the world-renowned Banff National Park as we know it (Waiser 1995; Ukrainian Canadian Civil Liberties Association). Tourism being a pinnacle priority for Harkin, the internees were put to work on the development of the Banff Springs Hotel and Golf Course. In 1917, Harkin and the Canadian Pacific Railway reached an agreement to revitalize the Banff Springs into a post-war international tourist destination with world-class entertainment. Hardships and Legacy In one month, under the guards’ bayonets and rifles, the internees built an additional nine holes of the golf course. Their work included clearing trees for the fairway and reconstructing the Club House. Harkin’s dream became reality with the new Banff Springs Golf Course. As one of the best courses in the country, it was a destination for movie stars and royalty alike (Waiser 1995; Kordan and Melnycky 1991). Figure 5: Prisoner. on stretcher. Shot by Guard when trying to escape., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/55 accn. 6666 Future visitors to the National Park would enjoy the luxuries created by the prisoners. Yet, Banff and Castle Mountain became nightmares for the internees. If a prisoner was caught trying to escape, they were chained, hanged by their wrists, or shot by the camp guards. Beatings, starvation, and punishments of solitary confinement were common. The prisoners also had to contend with the natural elements of the Rockies (Farris). Internees were forced to work in conditions ranging from blazing heat to heavy snow, and even in winter temperatures below -40°C. At least one suicide and 60 escape attempts were recorded. Prisoners experienced despair, humiliation, and loss of hope. Some prisoners were taken to Calgary for psychological evaluations (Kordan and Melnycky 1991). Despite the horrors experienced by the prisoners, the camps continued to operate throughout the wartime. Figure 6: [untitled], 1914, The Whyte, Luxton family fonds, LUX / I / E4 / PA – 34 Figure 7: Coffin passing the Compound., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/99 accn. 6666 The Cave & Basin and Castle Mountain Internment camps closed permanently on July 15th, 1917. The prisoners detained here were then shipped to other remaining camps, including out east to northern Ontario. The Kapuskasing Internment Camp was the last camp in Canada to close on February 24, 1920 (Kordan 2016; Ukrainian Canadian Civil Liberties Association). Over one year after the end of WWI, Canada’s First National Internment Operations shut down. Figure 8: & taking them to northern Ontario, ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/90 Yet for Ukrainian Canadians, the scars from the past will never be forgotten. With the dedication of the Ukrainian Canadian Civil Liberties Association (UCCLA), the statue and plaque titled ‘Why?’ now commemorate the injustices suffered by prisoners of the Castle Mountain Internment Camp. The UCCLA and the work of many individuals and scholars continue to educate the public about what occurred at the camps (Ukrainian Canadian Civil Liberties Association). In 2013, an internment camp exhibit opened at the Cave & Basin National Historic Site in Banff, Alberta. On October 28th, 2014, National Internment Commemoration and Education Day was designated in Canada. The Ukrainian community in Canada hopes to bring awareness to the events of the WWI internment camps and the importance of education in combating disinformation and missing perspectives from our past. Cultural institutions play a crucial role in initiating meaningful conversations about the events of the past. As you wander through our Heritage Gallery, visitors will notice yellow labels that have been added to the Gallery’s text panels. These Truth-Telling Interventions are meant to encourage visitors to engage more thoughtfully with the history presented to them. No matter how uncomfortable it is, it is important to recognize how the past has impacted individuals and cultures within our community. Here at The Whyte, we believe in fostering a safe environment to respectfully engage with important topics in this area, while still approaching these conversations with dignity and integrity for the communities affected by those experiences. It is important to create spaces for open and honest discussions and to learn about each other’s perspectives. Through these conversations, there is hope that we may create a more inclusive, diverse, compassionate and understanding path for our future. Interested in learning more about Canadian Rockies history? Plan your visit online and visit us in person to explore The Whyte’s Truth-Telling Interventions in our Heritage Gallery and the Archives Reading Room. Learn more about the history of Banff National Park and the Internment Camps by visiting our online database . The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB Sources Bella, Leslie 1987 Parks for Profit. Montreal. Harvest House Ltd. Conboy, Marie 2020 Remembering the 600 internees of Castle Mountain Internment Camp In The Crag & Canyon. Accessed July 29, 2025 https://www.thecragandcanyon.ca/news/local-news/remembering-the-600-internees-of-castle-mountain-internment-camp Farris, Andrew Canadian Dream to Canadian Nightmare: First World War Internment in Banff. In On This Spot. Accessed April 14, 2025 https://onthisspot.ca/cities/banff/caveandbasin Government of Canada (Parliament) 1914 An Act to confer certain powers upon the Governor in Council and to amend the Immigration Act, SC, 1914, c 2 (The War Measures Act). Accessed September 17, 2025 https://primarydocuments.ca/war-measures-act-sc-1914/ Kordan, Bohdan 2016 No Free Man: Canada, the Great War, and the Enemy Alien Experience. Montreal & Kingston: McGill-Queen's University Press. Kordan, Bohdan S. and Peter Melnycky, eds. 1991 In the Shadow of the Rockies Diary of the Castle Mountain Internment Camp 1915-1917. Edmonton: Canadian Institute of Ukrainian Press The University of Alberta. Luciuk, Lubomyr 2006 Without Just Cause: Canada’s first national internment operations and the Ukrainian Canadians, 1914-1920. The Kashtan Press. Ukrainian Canadian Civil Liberties Association Canada’s First National Internment Operations of 1914-1920. Accessed July 9, 2025 https://www.uccla.ca/ukrainian-canadian-internment Waiser, Bill 1995 Park Prisoners: The Untold Story of Western Canada’s National Parks, 1915-1946. Saskatoon: Fifth House Ltd. Figures: Figure 1: Castle Mtn. Camp. Shewing Storm Mtn taken from Castle Mtn, ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/20 accn. 666 Figure 2: Prisoners. Going into Compound., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/45 accn. 6666 Figure 3: Documents, 1973, The Whyte, James Anderson-Wilson fonds, V20/PA 228 Figure 4: Prisoners’ Leaving Banff for Castle Mtn, ca.1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/19 accn. 6666 Figure 5: Prisoner. on stretcher. Shot by Guard when trying to escape., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/55 accn. 6666 Figure 6: [untitled], 1914, The Whyte, Luxton family fonds, LUX / I / E4 / PA – 34 Figure 7: Coffin passing the Compound., ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/99 accn. 6666 Figure 8: & taking them to northern Ontario, ca. 1915-1917, The Whyte, William D. Buck fonds, V295/LC/PD/90 accn. 6666 Back to The Cairn

The Inaugural Night at The Whyte Fundraiser in Photos

Back to The Cairn By Lachlan Mackintosh, Fund Development Manager and Tera Swanson, Marketing and Communications Manager As a warm September evening settled over Banff and the lights of The Whyte glowed against the Rocky Mountain backdrop, guests gathered for the inaugural Night at The Whyte fundraiser dinner and live auction. The Heritage Gallery was transformed into an intimate dining setting where every detail was thoughtfully considered, from vibrant floral arrangements to the gentle strains of harp music drifting through the room. The evening unfolded as a celebration of art, community, and connection, bringing guests together around a shared commitment to the arts in the Bow Valley. Guests enjoyed a curator’s tour with Joseph Sanchez, meaningful community dialogue, and an exceptional dinner catered by The Rimrock Banff, followed by the lively energy of the live auction. Featured works included pieces by members of the Indigenous Group of Seven, commemorating the summer 2025 exhibition The Ancestors Are Talking: Paintings by the Indigenous Seven . We are deeply grateful for the generosity and spirit of the many artists, supporters, and community members who made the evening such a success. Special thanks to the artists and galleries who contributed works to the live auction, including Joseph Sanchez, Michael Corner, Bearclaw Gallery, and Masters Gallery. We also extend sincere appreciation to Senator Karen Sorensen for serving as auctioneer, and to Marino DiManno for guiding the evening as master of ceremonies. Funds raised through Night at The Whyte directly support exhibitions, education, and community programming, helping The Whyte continue to share the stories, art, and heritage of the Canadian Rockies. Night at The Whyte is quickly becoming a signature cultural and philanthropic gathering in Banff, and we are grateful to celebrate it with this remarkable community. Save The Date The second annual Night at The Whyte fundraiser will take place on Friday, September 25, 2026 . We look forward to welcoming you back for another memorable evening. Become a Sponsor As Night at The Whyte continues to grow, opportunities for sponsorship and partnership are available for those interested in supporting this signature cultural and philanthropic event. To learn more, visit whyte.org/sponsorship . Enjoy these images capturing the spirit, generosity, and community that shaped the inaugural Night at The Whyte. Back to The Cairn

A Fireside Chat with Barry Blanchard and Chic Scott

Back to The Cairn On December 18, 2025, Chic Scott sat down with Barry Blanchard for a Fireside Chat at The Whyte. Barry Blanchard is one of Canada’s most accomplished and respected mountaineers. A legendary alpinist, guide, and author, Barry has played a pivotal role in shaping modern Canadian mountaineering and shares a long history and deep connection with Chic Scott. Joined by Chic, Barry reflected on a lifetime in the mountains, the evolution of alpinism in Canada, and stories that continue to shape mountain culture. Guests of the Fireside Chat enjoyed a dynamic, thoughtful, and engaging conversation. Back to The Cairn

A Final Fireside Chat - Chic Scott Reflects on a Legacy

Back to The Cairn By Tera Swanson, Marketing and Communications Manager It's a crisp winter day when I sit down with local historian and writer Chic Scott in the Reading Room at The Whyte, situated outside the doors of the Archives and Special Collections Library, just days after his Final Fireside Chat was hosted at the museum in January 2026 alongside Geoff Powter. With historic photographs adorning the walls, shelves lined with archival books and resource binders, and expansive windows framing the Rundle Range, it's a place Chic has spent thousands of hours since moving back to Banff to stay in 2006. The Archives have served as research and inspiration for many of the projects he has worked on, from the early days of working on Pushing the Limits: The Story of Canadian Mountaineering , regarded by many as the Bible of Canadian mountaineering history, to his most recent work on the history of the Alpine Club of Canada, and all of the projects in between - including the Fireside Chat series. Chic Scott and Kathy Madill-Scott at the final Fireside Chat at The Whyte, January 15, 2026. Photo taken by Lloyd Gallagher. Chic Scott with his book Pushing the Limits , in the Reading Room at The Whyte, 2000. Over the years, Chic's name has become synonymous with Canadian Rockies storytelling. He's familiar to many in the Bow Valley and beyond, whether a newcomer to Banff for their very first ski season, picking up their soon to be well-read copy of Ski Trails in the Canadian Rockies , a family whose history in Banff spans generations and is likely featured in many of Chic's books, or a visitor spending time in one of Banff National Park's backcountry lodges reading one of his books over a cozy afternoon tea. Even the story of our founders, Peter Whyte and Catharine Robb Whyte, and their families, is recounted in his book, Mountain Romantics: The Whytes of Banff. The Stories Beneath the Surface As we settled into our conversation, which stretched well into late morning, Chic reflected on his personal history in Banff, his time researching with The Whyte, and the Fireside Chat series that just recently wrapped up. Through it all, he's come to learn that the lesser-known stories are just as intriguing as the popular tales we've come to love and associate with mountain history. “The aim (for the Fireside Chats) pretty quickly became to find the people we don't hear about as often. We all know about the people climbing Everest, but there are so many good stories beneath the surface.” And stories like these are often discovered by future generations exactly where we’re sitting: in the Archives. Chic lights up talking about that feeling; the quiet thrill of sifting through paper and photographs until something remarkable turns up, and suddenly the past is brought into clearer focus. Gems of information and small details that can open a whole door. It was this very notion that sparked the Fireside Chat series back in 2012. But it began serendipitously and not as a series at all. It began as an open house for the Abegweit. A historic home on The Whyte’s grounds, the Abegweit had been sitting unused until Nathalie Fedrau, an employee at the time with Visitor Services, quietly began bringing it back to life. When the community was invited in that October afternoon, Chic remembers the house filling past capacity, with dozens of people crowding into the living room. Rob Crosby, who grew up in Abegweit, was also in attendance. In that moment, Chic realized what an opportunity it would be for Rob to tell the Crosby family stories in that living room, and he realized that those stories needed to be captured. So he ran home, grabbed his camera and tripod, set it up in the corner of the living room, and hit record. "Despite the very amateur nature of this recording, it turned out pretty well," Chic explains. "Later, I had Will Schmidt work on it a bit to make it flow a bit better." From there, the concept took off. The first voices featured Rob Crosby, Dorothy Carleton, Ralphine Locke, Don Mickle, Bridget Jones, and Fran Drummond. These intimate chats were immediately popular and were even "catered" with tea and fresh cookies, thanks to friends Anita Battrum and Kathy Madill (now Kathy Madill-Scott after she and Chic married in 2016). They were initially filmed by Will Schmidt after the first point-and-shoot interview with Rob Crosby. The warmth of those early events wasn’t just about the storytelling, but the community coming together to connect, reminisce, and learn something new. A Gift to Future Generations Fourteen years later, this feeling has held strong and is what Elizabeth Kundert-Cameron, Director of Archives and Special Collections, describes when she looks out at a Fireside Chat audience. For Elizabeth, the Fireside Chats have always felt like something more than an event. At Chic's Final Fireside Chat hosted at The Whyte in January 2026, she explained, “I look in the audience and I see so many familiar faces that have been coming year after year. It’s emotional for me, as I am sure it is for many of you, as the Fireside Chat series has been such a warm, community gathering. The big stories, and the side stories, that Chic was able to glean from such a wide range of Bow Valley characters, has evoked for me the feeling of being at a family party, when I would listen to my parents and uncles and aunts reminisce about times past. It’s the same feeling here, and I treasure it.” As the first cohort of the Fireside Chats was starting in 2012/13, Chic spoke with Elizabeth, former Archivist Jennifer Rutkair, and Events Coordinator Nathalie Delbecq about making Fireside Chats an official Whyte program. The answer was immediate: yes. With Chic at the helm, Elizabeth knew it would not just be a great event for the community but a valuable resource for future researchers. It wasn't long before interest in the Fireside Chats grew into a long-standing series, spanning a 14-year legacy. Will Schmidt remained the videographer until his passing in November 2015, and in 2017, the series resumed under the professional direction of videographer Glen Crawford. Later, the Wim and Nancy Pauw Foundation sponsored the program for five years, support The Whyte remains deeply grateful for. Originally from Calgary and having spent a significant amount of his time in the Banff area growing up, including summers as a university student and a few ski seasons at Sunshine Village Ski Resort, Chic took up mountain climbing and skiing in his late teens, and these two passions have been a driving force in his life ever since. He was part of the first wave of homegrown Canadian climbers who were to earn their place in what was, at the time, a British- and European-dominated sport, and was part of multiple first ascents and a pioneering high-level ski traverse through the 60s and 70s. But it's not just Chic's rich knowledge of Canadian Rockies history or his significant background in climbing and skiing that positioned him as the perfect host for a series like this. A natural conversationalist, Chic's genuine interest in the personalities he hosted and his ability to put them at ease are evident in every interview. Jasper to Lake Louise High Level Ski Traverse. This was the first successful completion of this tour and introduced Nordic equipment into ski mountaineering in Canada (300 km, 21 days). L to R: Don Gardner, Chic Scott, Charlie Locke, and Neil Liske. Photo by Don Gardner. Fireside Chat with Jerry Johnston and Chic Scott, April 25th, 2024, at The Whyte. The series evolved over the years, moving from the Abegweit to the "front porch" of Skoki in the Heritage Gallery, growing its audience, and experiencing periods of pause. But many aspects remained consistent: the series was always hosted by Chic in his signature navy-and-white Norwegian ski sweater, featured stories rooted in a sense of place, and resonated deeply with the community, drawing shoulder-to-shoulder crowds. The Fireside Chats were, and remain, some of the most popular events hosted at The Whyte. Chic insists the core spirit of the Fireside Chats remained intact: a comfortable setting, a friendly audience, and stories that might otherwise never have been documented. But beyond being a beloved community gathering, the Fireside Chats became a recorded oral history. Through Chic’s foresight and commitment, Elizabeth notes, these stories will remain part of The Whyte's collective record, stored in the Archives alongside sound recordings that go back as far as the 1950s. All Fireside Chat interviews from 2012 to 2026 can be watched on The Whyte’s website, but as Elizabeth also reminds us, nothing quite compares to being there in person, together, in the room. As the series wraps up, there’s gratitude threaded through every mention of the team behind it: Elizabeth and the Archives staff, Glen Crawford, and the late Will Schmidt, and of course, Chic and every individual interviewed. There’s also a sense of transition. Chic will be turning his attention to the final segment of editing, design, and promotion for his new book on the history of the Alpine Club of Canada, planned for release in Spring 2027, and The Whyte will be exploring new directions in the year ahead. In the end, Chic says the series returned to what it has always been about. “It’s all about community. The Whyte Museum and Archives are the heart of our community.” Thanks to this work, those stories will remain, recorded and accessible for future generations, held in the Archives where so many of them began. Chic Scott with The Whyte, Archives staff Elizabeth Kundert-Cameron, Hannah Yuzwa, Kate Riordon, and Kate Nielsen. Photos From the Final Fireside Chat Full List of Fireside Chats 2012 Rob Crosby (October 14, 2012) - Abegweit 2013 Dorothy Carleton (February 17, 2013) - Abegweit Ralphine Locke (April 14, 2013) - Abegweit Don Mickle (October 6, 2013) – outside Windy Cabin on Whyte Museum property 2014 Bridget Jones (February 9, 2014) - Abe gweit Fran Drummond (April 13, 2014) - Abegweit 2017 Eddie Hunter (October 22, 2017) – Whyte Museum Leo Grillmair (November 19, 2017) – Whyte Museum 2018 Renate Belczyk (September 20, 2018) – Whyte Museum Brian Patton (October 25, 2018) – Whyte Museum Jim Davies (November 21, 2018) – Whyte Museum 2019 Chic Scott (guest; interviewed by Zac Robinson) (April 24, 2019) – Whyte Museum Roy Andersen (October 24, 2019) – Whyte Museum Charlie Locke (November 26, 2019) – Whyte Museum 2020 Jillian Roulet (February 6, 2020) – Whyte Museum 2021 Glen Boles (online - prerecorded with older interviews) – released online July 2021 Lloyd Gallagher (online – prerecorded with older interviews) – released online May 2021 2022 Ben Gadd (May 26, 2022) – Whyte Museum Barb Renner (April 28, 2022) – Whyte Museum Ted Hart (October 20, 2022) – Whyte Museum 2023 John Gow (March 16, 2023) – Whyte Museum Frances Klatzel (November 1, 2023) – Whyte Museum Cliff White (December 7, 2023) – Whyte Museum 2024 Jerry Johnston (April 25, 2024) – Whyte Museum Patty Cucmann (June 27, 2024) – Whyte Museum Sid Marty (November 7, 2024) – Whyte Museum Cori Brewster (December 5, 2024) – Whyte Museum 2025 Barry Blanchard (December 18, 2025) – Whyte Museum 2026 Chic Scott and Geoff Powter (January 15, 2026) – Whyte Museum Interested in learning more about Canadian Rockies history? Visit our exhibitions or book a research appointment at the Archives and Special Collections Librar y at The Whyte. For more information on visiting The Whyte, visit us online at whyte.org/visit . The museum is open daily from 10 a.m. to 5 p.m. Archives and Special Collections appointments are available Tuesday – Friday, 1:00 p.m. to 5:00 p.m. To make an appointment or for inquiries email: archives@whyte.org Back to The Cairn

Book Review: What We Can Know by Ian McEwan

Back to The Cairn By Julie Fesseler, Tour Program Manager Set in a fractured future where museums cling to higher ground and knowledge itself feels precarious, Julie Fesseler’s What We Can Know book review explores Ian McEwan’s novel, which asks a deceptively simple question: how much of the past can we ever truly recover—and at what cost? Set in 2119, What Can We Know imagines a world reshaped by wars and climate disasters. Humanity survives on scattered islands, and museums and libraries have been moved to higher ground. In this fractured future, Thomas Metcalfe — a humanities scholar specializing in the period 1990–2030 — becomes obsessed with a long‑lost poem: A Corona for Vivien , read aloud only once at a 2014 dinner party by the poet Francis Blundy. Those present described it as Blundy’s best work. But Blundy gifted the only copy to his wife, and that copy disappeared. Over the decades, the missing poem’s reputation has grown, and Thomas Metcalfe is determined to find it. The novel is divided into two parts. The first follows Thomas: his life, but mostly his work. The narrator details everything he discovers about the poem and gives us a very complete account of the dinner party and the lives of the guests attending it. The narrator uses every type of information at his disposal — digital data, journals, letters… For this reason, the first half of the book is dense and overwhelming — sometimes even tedious. McEwan uses this excess to mirror our own era’s digital saturation, reminding us how many traces we leave behind through emails, texts, and social media posts. So, we know that 108 years ago, in 2014, the potato Vivien Blundy held in her hand to peel for supper on her birthday was of the Rooster variety. ‘" prefer them for roasting," she had written recently to her sister Rachel. I’d like to shout down through a hole in the ceiling of time and advise the people of a hundred years ago: If you want your secrets kept, whisper them into the ear of your dearest, most trusted friend. Do not trust the keyboard and screen. If you do, we’ll know everything. This section also gives Ian McEwan space to share his opinion on other topics. Since the novel takes place in a post-apocalyptic world and Thomas studies the past, McEwan uses the narrator’s voice to comment on our inaction in the face of climate change and geopolitical conflict. Throughout the whole first half of the novel, there is a soft but nonetheless persistent critique of our current mindset. Then, of course, hardly worth repeating, they watched amazed as the decades sped by and the Derangement gathered pace, the weapons proliferated and they did little, even as they knew what was coming and what was needed. Such liberty and abandon, such fearful defiance. They were brilliant in their avarice, quarrelsome beyond imagining, ready to die for bad and good ideas alike. Yet the author also captures the beauty of our everyday life. Seeing our world through Thomas’s eyes makes it difficult not to share his nostalgia for what has been lost. My list was long — the suspension bridges, the orchestras, street parties and a thousand forms of music festivals, and people’s gardening and cooking, their need for holidays, extreme sports, historical enactments, gay-pride carnivals, the risks they took with A.I., the sense of humour, the safe airplanes, the passion for pointless sports. A hundred thousand at a football match! Midway through the novel, everything shifts: a new clue emerges, and Thomas embarks on a kind of treasure hunt for the missing poem. The second part of the book is completely different: a new narrator, a new writing style, a new interpretation of the events of 2014. This second half is far more entertaining and captivating, transforming the book into a page-turner. We switch from academic discussions and history lessons to stories of relationships, grief, secrets and revenge. This second half is way more entertaining and captivating, transforming the book into a page-turner. And the meticulous detail of the first half suddenly pays off, as t he information given will reveal their importance . Together, the two sections combined convey the main message of the novel: what can we really know ? By juxtaposing Thomas’s story, the story he interprets from historical records , and the “true” events of 2014, Ian McEwan delivers a powerful discourse on knowledge and the reliability of historiography . The author invites us to be careful about how we glorify certain eras or certain people. He also invites us to challenge the reliability of historical documents and to ask ourselves whether a document is biased, whose point of view is being shared, what is being held back, and how we can verify information. In the end, What Can We Know becomes a reflection on the stories we inherit, the stories we construct, and the stories we choose to believe. Through Thomas Metcalfe’s obsessive search for a missing poem, McEwan confronts us with the fragility of knowledge and the responsibility that comes with interpreting the past. Pick up your own copy of What We Can Know at the Bookstore at The Whyte - 111 Bear Street, Banff, Alberta or Shop Online . For more information on visiting The Whyte, visit us online at whyte.org/visit . The museum is open daily from 10 a.m. to 5 p.m. Back to The Cairn

A Fireside Chat with Frances Klatzel and Chic Scott

On November 1st, 2023, Frances Klatzel joined Chic Scott for a Fireside Chat at The Whyte. Frances Klatzel lives in two worlds. Born and raised in Calgary, she obtained a B.Sc . in Biology from the University of Calgary. An active outdoorswoman, she worked for the Canadian Parks Service for seven years. A trip to Nepal in 1980 changed her life, and she has lived in this country for many years, exploring the diverse cultures. Between 1983 and 1989, she lived in the Khumbu and helped to create a museum of Sherpa culture at the Tengboche Museum. She has helped with several projects in the Khumbu since. In 1999, she started her own company, Mera Publications, and has produced several books including about Sherpa culture, including “Gaiety of Spirit — The Sherpas of Everest” and “Daring to Dream — Sherpa Women Climbing K2” Frances has travelled widely in Nepal, working for a variety of development organizations, and has visited 65 of the 76 districts in the country. In 2005 she co-founded CORE International a non-profit registered charity which helps small groups of very poor and disadvantaged people by investing in education, literacy, skills and health. Frances has returned regularly over the years to the Bow Valley. In the early 90s she helped found BowCORD (Bow Corridor Organization for Responsible Development) whose mission was to protect the Bow Valley from over-development and to save the Wind Valley. The Whyte is grateful to have collaborated with the Banff Centre Mountain Film and Book Festival for this exciting Fireside Chat.

Performance Series Brings a Summer of Song to The Whyte

Back To The Cairn By Clayton Smith, Events Manager Who would have thought The Whyte’s Heritage Gallery could transform into one of Banff’s warmest and most inviting music venues? This summer, it did just that. The Whyte’s Summer Performance Series brought five outstanding shows to the gallery, filling the space with song, storytelling, and the kind of energy that connects audiences, artists, and community in truly memorable ways. The series was as diverse as it was carefully curated. Over the course of the summer, audiences experienced everything from soulful Indigenous storytelling to Southern Alberta honky-tonk, prairie ballads, northern family-rooted reflections, and nostalgic echoes of early R&B, doo-wop, and garage folk. The result was a musical journey across Canada’s sonic landscapes, one that left both audiences and performers glowing. The Whyte was proud to welcome Logan Staats, Mariel Buckley, Shaela Miller & Carter Felker, Shane Ghostkeeper & Lauren Dillen, and Duff Thompson & Steph Green to the stage. Together, these artists drew nearly 550 attendees across five evenings, filling the artefact-lined gallery walls with audience members from all over Alberta. The series was met with tremendous enthusiasm, with each performance drawing at or near capacity crowds. From the opening night with Logan Staats through to the closing show with Duff Thompson & Steph Green, the Heritage Gallery was filled with energy and anticipation. Whether on bustling summer evenings or during quieter moments in August, audiences consistently showed up ready to listen, connect, and celebrate the music, creating a welcoming atmosphere that artists and community members alike were quick to praise. But attendance only tells part of the story. For the artists, The Whyte’s series meant something special. Time and again, they remarked on the care and hospitality they felt, from the attentive audiences to the support of the Whyte, to the generosity of our partners at The Rimrock Banff. That sense of being welcomed, valued, and connected is part of what makes Banff such a meaningful stop on their touring calendars. Audiences, too, were vocal in their praise. One survey response captured the mood perfectly: “It’s the same intimate feeling as a house concert. Great snacks, drinks, and friends! It really felt like a community connector.” More than any old venue, the Heritage Gallery became a gathering place to celebrate new music discoveries, a vibrant local community, and a shared togetherness. Canada’s music scene is deep and multifaceted. Not every artist reaches the same level of recognition as familiar acts like Blue Rodeo or The Tragically Hip, but there is certainly no shortage of remarkable talent waiting to be heard. Sometimes, all it takes is a trusted venue to make the introduction. This summer, The Whyte was proud to be that connector. Just as the museum preserves and presents the history of the Canadian Rockies, it also curates contemporary cultural experiences. Thanks to the support of The Rimrock Banff, our Summer Performance Series added a new flavour to Banff’s cultural life, one that artists, audiences, and The Whyte are eager to carry forward. Gallery 1 Want to check out the artists from our Summer Performance Series? Listen to our Live at The Whyte Spotify playlist! Visit our website to learn more and plan your next visit to The Whyte. We're open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, Alberta. Gallery 1: Photos from the 2025 Summer Performance Series at The Whyte. Photos by Katie Goldie. Back To The Cairn

Andy Russell’s Grizzly Country Available Online

Back To The Cairn In 1961, Andy Russell and sons, Dick and Charlie, set out on an urgent quest to record the much-misunderstood grizzly bear. The Russells journeyed throughout Alberta, British Columbia, the Yukon, and Alaska in wilderness fieldwork and encountered bears on nearly 200 occasions over three seasons. They photographed, filmed, and wrote about the famed great bears to dispel a host of myths and misinformation. Until then, bears had often been harassed or even killed in the process of filmmaking. The Russells, who had lived peaceably for years with bears near Waterton Lakes National Park, Alberta, knew that the grizzly could be filmed in a respectful way. After their first season in the field, guns were left behind in camp. Travelling unarmed, the Russells immediately obtained unprecedented bear footage. The result was the film Grizzly Country, and also a ground-breaking book of the same name by Andy Russell. Andy Russell recorded the narration he delivered in person countless times in halls grand and small to accompany this film. Nearly 40 years later, The Whyte undertook an important restoration project. For the restored film, Andy Russell recorded the narration he had delivered live during countless screenings across the country. We wanted to capture his distinctive voice before it was gone - Andy passed away in 2005. The project also included a new introduction and conclusion hosted by Ian Tyson, and the restored version was produced with interviews by Ian Tyson and Andy Russell at the Hawk’s Nest. Photographs of this work, taken by Head Archivist Don Bourdon, are preserved in Archives V692 records. This initiative was part of a larger tradition of The Whyte facilitating and supporting important mountain film heritage restoration projects. A similar project followed with the Hans Gmoser DVD restorations. Gmoser, like Andy Russell, had originally narrated his films live for audiences. For the restorations, narration was recorded from his scripts by a family member, while Will Schmidt of Skylight Pictures, alongside Chic Scott and Margaret Saul, helped bring the project to life. Will Schmidt also worked on the Fireside Chats with Chic; after Will’s passing, Glen Crawford continued the series. The Grizzly Country restoration and the Hans Gmoser DVD project (1999/2000) were landmark initiatives of The Whyte. Don Bourdon served as Executive Producer, and Will Schmidt as Producer/Director/Videographer. Together, they ensured that this body of work, and the voices of those who made it, were preserved for future generations. The Whyte is pleased to make the restored, unabridged Grizzly Country film available online so that new audiences can experience the role it played in awakening concern for grizzly bears and their habitat. All rights reserved. A license is required for any reproduction, broadcast, or public screening of this film. Please contact archives@whyte.org for more information. To learn more about Andy Russell, view his collection of work housed at The Whyte. Back To The Cairn

Lantern Slides

Winter events and tours are now available! Book your spot today.

Open Daily 10 a.m. to 5 p.m.