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Back to The Cairn By Julie Fesseler, Tour Program Manager Banff is often first experienced through its scenery: the Canadian Rockies, the Bow River, the sense of wonder that arrives the moment you step into the Bow Valley. But beyond the stunning postcard views are stories of Indigenous Nations, artists, families, and generations of people connected to this place. This summer, guided tours at The Whyte invite visitors to slow down and experience Banff through art, history, and interpretation. From the Historic Homes Tour and Banff Walking Tour to a newly revised Heritage Gallery Tour rooted in truth-telling and a brand-new Art Gallery Tour focused on our summer exhibition, Thick as Thieves, The Whyte tours offer thoughtful ways to explore the cultural history of Banff and the Bow Valley. Banff offers no shortage of ways to spend a summer day, but guided interpretation here does something essential: it helps visitors make sense of what they’re seeing. The Museum Interpreters bring research, care, and storytelling together to draw visitors into Banff’s art and history. Whether you are a first-time visitor looking for meaningful things to do in Banff this summer or a local who calls the Bow Valley home, a guided tour at The Whyte offers a rich and unique way to experience the area. The updated summer tour offerings were developed through a thoughtful, collaborative process. Museum Interpreters worked closely with archives and curatorial staff to review content, identify gaps, and strengthen the stories shared with visitors. The result is a refreshed series of guided tours that connect visitors with Banff’s art, history, and cultural landscape. The Historic Homes Tour Step Inside Early 20th-Century Banff The Historic Homes Tour remains one of the museum’s most cherished experiences. Stepping inside the homes of Peter and Catharine Whyte and notable locals Philip and Pearl Moore offers a unique window into the lives of two families that played an integral role in the cultural development of Banff. Through these preserved spaces, visitors can explore what daily life looked like in the early 20th century and consider how these personal histories continue to shape the story of Banff today. The tour offers an intimate look at home, creativity, community, and legacy in the Canadian Rockies. The Banff Walking Tour See the Town Through a New Lens The Banff Walking Tour continues as a favourite experience for summer 2026. Though the streets of Banff may be familiar to some, this guided tour reframes them through stories of early settlement, the creation of Banff National Park, the growth of tourism in Banff, and the personalities who helped shape the community. Visitors will leave with a new appreciation for the familiar streets, landmarks, and stories they may have walked past many times before. For locals and visitors alike, the Banff Walking Tour offers a chance to see the town with fresh eyes. The Heritage Gallery Tour A Fresh Tour Rooted in Truth Telling This summer, The Whyte is introducing a newly revised Heritage Gallery Tour in alignment with the museum’s ongoing Truth-Telling Initiative. This work reflects The Whyte's commitment to the principles of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP) and the Truth and Reconciliation Commission of Canada's Calls to Action. It also supports the museum's continued responsibility to provide truthful, respectful and responsible exhibitions and interpretation. Museums have historically been involved in shaping, and at times distorting, narratives about place, history, and community. The revised Heritage Gallery Tour directly acknowledges the gaps and erasures in the galleries by bringing forward stories and events that were previously left out of the frame. This guided tour provides a great introduction to the history of Banff, the Bow Valley and the Canadian Rockies, through themes such as exploration, the railway, and the development of tourism. In addition, this tour is also a chance to reflect on how cultural institutions can move toward more truthful and respectful storytelling. Art Gallery Tour A Brand‑New Tour Focused on Thick as Thieves With the arrival of Thick as Thieves, a travelling exhibition from the MacKenzie Art Gallery, The Whyte is introducing a brand-new Art Gallery Tour in 2026. This group exhibition explores the relationships and bonds we form: the ones we celebrate, the ones we conceal, the ones that quietly shape the way we move through the world. Museum Interpreters will introduce visitors to the artists, ideas, and tensions within the exhibition while offering insight into selected works on display. Whether you are a long-time art lover or simply curious, this tour encourages you to pay attention not only to what the artworks depict, but also to what they reveal. Experience a Deeper Understanding of Banff Through a Guided Tour No matter which tour you choose, guided tours at The Whyte offer a richer and more nuanced experience of Banff's cultural and historical landscapes. Amidst the natural beauty of the Canadian Rockies, The Whyte’s guided tours reveal what visitors may not see on their own: the stories, relationships, and histories that continue to shape this place. For travellers and locals seeking meaningful things to do in Banff this summer, The Whyte's guided tours offer a thoughtful way to connect with the full cultural history of this incredible place. Visit the Whyte Museum website to learn more about our guided tours and plan your summer visit today! The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. Follow us on social media and keep an eye on The Cairn for more exhibition stories, behind-the-scenes insights, and upcoming programs at The Whyte. Back to The Cairn

Back to The Cairn By Kate Riordon, Reference Archivist Image 1 Everyone loves a good story. While local libraries and internet forums are full of the fanciful and factual stories people have dreamed up or lived themselves, there are unknowable numbers of extraordinary tales to be found in archives, waiting to be rediscovered. From the Archives to the Page, Screen, and Trail An archive is a deceptively simple thing. At its core, its sole purpose is to provide safe haven for the collected material of a person’s life – their photographs, letters, diaries – in the hopes that one day some intrepid explorer comes looking for the stories they hold. True, there are a fair number of business ledgers and meeting minutes in here too, but treasure comes in many forms; it just depends on the kind of story you want to tell. Arguably, one of the most important parts of a good story are the characters. Lucky for us, Banff has been populated by some real characters since the beginning and most of their stuff has, in one way or another, made its way here to The Whyte. Of course, there’s more than one way to tell a story. These are four ways storytellers are using The Whyte’s Archives to tell theirs: Following Mary Schäffer’s Footsteps In 1908, Mary Schäffer became the first settler to lay eyes on Maligne Lake (Chaba Îmne) in Jasper National Park. Three years later, she became the first woman hired by the Canadian government to complete the official survey for the area. More than 100 years later, Mary and her story inspired director Trixie Pacis and historian/writer Meghan J. Ward to recreate that 1911 surveying trip. Image 2 Studying Mary’s published works and her vast collection of lantern slides housed in The Whyte’s Archives, Pacis, Ward, and their all-female team set out to document a six-day horse packing and paddling trip in the summer of 2023 that followed Mary’s final stretch to Maligne. Including footage filmed in our Archives, original art from Indigenous artists, and reflecting on what being a woman in the wilderness entails, Wildflowers “blends backcountry adventure with a historical deep-dive to explore the themes that bond two writers living a century apart.” Gallery 1 Premiering at the 2024 Banff Mountain Film & Book Festival, it has been featured at 8 additional film festivals and in dozens of podcasts and publications, including Canadian Geographic. It’s currently available to stream on Amazon Prime and the Knowledge Network. A Love Letter to Mount Norquay Despite being a place more often associated with books and paper, our Archives contains a huge amount of motion picture material – some of which was included in Sherpas Cinema’s 2025 film, The Mighty Quay. Image 3 From the days of leather boots and hand-made wooden skis, to the rise of snowboarding, and then looking ahead to the next 100 years, The Mighty Quay brought together locals and legends in celebration of 100 years of “Banff’s backyard” hill. Gallery 2 Filming interviews in our Archives and the stately Abegweit-on-the-Bow, bringing archival photos, promotional posters, and movie clips to life through creative editing, and highlighting the stories of the people who’ve worked so hard to keep this special place going, the movie made a splash at its 2025 Banff Mountain Film & Book Festival premiere. Now available for free on Norquay’s website and YouTube, The Mighty Quay is a love letter to an outdoor community’s beloved hill. That’s the great thing about movies as a storytelling tool: you can pack 100 years of recreation, athleticism, and community into a 35-minute package that leaves audiences inspired and informed. But not everyone is born to be a filmmaker. For some, the best way to tell a story is to write it all down. Writing the Alpine Club of Canada Into History Chic Scott takes “write it all down” to heart with every project he sets his pen to, and his upcoming definitive history of the Alpine Club of Canada, This Way to the Stars, will be no exception. Gallery 3 Commissioned by the Club in 2021, Scott settled into what is now considered “his spot” in The Whyte’s Archives and spent the next 2 years going through practically every millimetre of the ACC’s approximately 42 metres of material. End-to-end, that’s almost as tall as the Banff Springs Hotel. Covering the Club’s history from its inception in 1906 all the way through to the 2020s, and hitting shelves in early 2027, Scott writes that this book “will be a reference work for mountain historians for hundreds of years to come.” Featuring 300,000 words and 750 photographs over 500 pages, “it would not,” he says, “have been possible without the Archives.” He’s a real charmer. But, naturally, mountaineers make for great characters. Whether they’re the ones doing the writing or the ones being written about, the people who make their homes in these mountains are guaranteed to have a good yarn or two to tell. The People Behind the Peaks Image 4 In their upcoming book Behind the Ranges, Zac Robinson and Stephen Slemon are giving a platform to those who may not have always been at the forefront of the narrative. Focusing on supporting characters from the “Golden Age” of mountaineering in the Canadian Rockies, this book will shine a light on the people who made it possible for valleys to be travelled and peaks to be summited. Through archival research and community dialogue, Robinson and Slemon attempt to “uncover the colonialist, patriarchal, and class-based assumptions that led explorers and climbers to the heights and then organized their ways of writing about it." Image 5 A side of the story often overlooked, and featuring detailed correspondence found in collections across our Archives, Behind the Ranges: A History of Early Mountaineering in the Canadian Rockies comes out in April 2027. The Next Story Is Waiting in the Archives at The Whyte Like any good lover of stories, an archive is always hungry for more. More tales of adventure, more historic epics, more love letters – in whatever form they take. Whether looking for a story to sweep you away or for characters to help populate your own, you might just find some in your local archives. Just be sure to let us know what you find – we do so love a good story. Interested in discovering more stories from the Canadian Rockies? Plan your visit online and explore The Whyte’s exhibitions, collections, and Archives Reading Room. Archives and Special Collections appointments are available Tuesday to Friday, 1 to 5 p.m., and can be booked in advance by emailing archives@whyte.org. You can also learn more about the people, places, and stories that shaped Banff and the Canadian Rockies by visiting our online database. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. Image Descriptions: Image 1: Meghan Ward examines archival materials while researching for the Wildflowers documentary in the Archives and Special Collections Library at The Whyte in Banff. Image 2: Wildflowers title screen capture with film credits and festival laurels. Image 3: Mighty Quay title screen capture. Image 4: Book cover of Behind the Ranges and A History of Early Mountaineering in the Canadian Rockies by Zac Robinson and Stephen Slemon. Image 5: ACC camp, Yoho, birdseye view of Yoho Glacier, [ca. 1914], Byron Harmon fonds (V263/NA-153) Gallery 1 (L to R): [Group of Alpine Club of Canada climbers looking into crevasse], [ca. 1915], Mary Schaffer fonds (V527/PS 1-335) Primula McCallian MacCalla’s Primula, [ca. 1910], Mary Schaffer fonds (V527/PS 1-203) [Mary Schaffer with horse], 1908, Mary Schaffer fonds (V527/PS1-151) [Building a raft at mouth of Maligne Lake], 1908, Mary Schaffer fonds (V527/PS 1-74) On the High Hill below Wilcox Pass, 1908, Mary Schaffer fonds (V527/PS 1-57) Gallery 2 (L to R): [Ski jumper at Norquay], [ca. 1958], Peter & Catharine Whyte fonds (V683/III/A/1/PD-8/18-01) [Molson ski race], [ca. 1970], Bruno Engler fonds (V190/VI/S/ii/a/PA-15) [Norquay sightseeing gondola], [ca. 1960], Bruno Engler fonds (V190/VI/N/i/NA-33) [Skier jumping two people], [ca. 1960], Bruno Engler fonds (V190/VI/A/ii/PA-31) [Skis outside Norquay ski lodge], [ca. 1935], Peter & Catharine Whyte fonds (V683/III/A/5/PA-118) Gallery 3 (L to R): [Founding members of the ACC], 1906, Alpine Club of Canada fonds (V14/AC 00P/77) [ACC Clubhouse], [ca. 1915], Alpine Club of Canada fonds (V14/AC 0P/809/PS-14) [Mt. Assiniboine], [ca. 1915], Alpine Club of Canada fonds (V14/AC 0P/809/PS-09) Robson, top of Resplendent, 1913, Byron Harmon fonds (V263/NA-1091) [Climbers], [ca. 1920], Henry Pollard, photographer, Alpine Club of Canada fonds (V14/AC 29P/1-27) [ACC Clubhouse], [ca. 1950], Alpine Club of Canada fonds (V14/AC 199P/NS-80) [Club members on a snow slope], [ca. 1920], Henry Pollard, photographer, Alpine Club of Canada fonds (V14/AC 29P/2-35 Back to The Cairn

Back to The Cairn Summer 2026 exhibition opening for Thick as Thieves On May 1st, 2026, The Whyte’s summer exhibitions opened with a warm and enthusiastic celebration in Banff, bringing together artists, curators, members, partners, and community guests for an evening of art and conversation. The evening marked an exciting continuation of momentum for The Whyte, as the museum continues to broaden its contemporary art programming and connect with new generations looking for meaningful cultural exhibitions in the Bow Valley. Opening night marked the official launch of Thick as Thieves in the Main Gallery and When our eyes touch in the Rummel Gallery. Together, the exhibitions invite visitors to consider themes of trust, intimacy, influence, representation, and the stories that shape how we see one another. Gallery 1 The energy throughout the galleries reflected the spirit of the exhibitions themselves: connection, both with art and with one another. Guests moved through the galleries in conversation, pausing with the artworks, gathering and sharing in the excitement of a new season of exhibitions at The Whyte. From evocative sculptures to tender portraiture sketches, opening night offered visitors the opportunity to experience two distinct but deeply resonant exhibitions. Each asks us to consider the relationships embedded in art, whether between artist and subject, object and institution, or viewer and story. A Curator’s Talk with Crystal Mowry As part of the opening weekend celebrations, visitors were invited to a Curator's Talk with Crystal Mowry, Curator of Thick as Thieves and Director of Programs at the MacKenzie Art Gallery. The talk was followed by a Q&A with Christina Cuthbertson, Chief Operating Officer and Curator at The Whyte. Gallery 2 Rather than offering a traditional walkthrough presentation of the exhibition, Mowry spoke to the ideas orbiting the show: the stories museums hold, the relationships between artists and institutions, and the unexpected connections that emerge when works from a collection are brought into conversation. Mowry described her curatorial practice as one shaped by curiosity, care, and a willingness to question the authority of museum narratives. In Thick as Thieves, artworks are not arranged simply by time period, medium, or theme. Instead, they form a web of relationships around loyalty, power, desire, secrecy, extraction, repair, and return. Throughout the talk, Mowry reflected on museums' responsibilities to look closely at their own collections and the histories behind them. Some stories live in gallery labels, while others remain tucked away in archives, vaults, and institutional memory. Thick as Thieves draws those quieter histories closer to the surface, asking visitors to consider what is visible, what is withheld, and what new meanings emerge when artworks are allowed to speak across time. The conversation also touched on restitution and the possibility of repair. Mowry framed this work not as a loss for institutions, but as an opportunity to create new relationships and more honest stories. In this way, Thick as Thieves asks visitors to sit with complexity while remaining open to connection, care, and transformation. Together, the opening night and curator’s talk offered visitors several ways into the exhibitions, from the immediate experience of moving through the galleries to deeper conversations about the relationships that shape works of art over time. Media Coverage The Whyte’s summer exhibitions were also featured in local and regional media, helping share the excitement of opening weekend and introduce Thick as Thieves and When our eyes touch to wider audiences across Banff, the Bow Valley, and beyond. Recent media coverage includes: CTV News: Spring brings two new exhibits to Banff's Whyte Museum Rocky Mountain Outlook: Spring brings two new exhibits to Banff's Whyte Museum CKUA Radio: Crystal Mowry on Thick as Thieves CJSW Radio: INTERVIEW: Crystal Mowry and Christina Cuthbertson About the Exhibitions Thick as Thieves Esmaa Mohamoud, Deeper the Wounded, Deeper the Roots (1), 2019, archival pigment print on paper, edition 1 of 5 (1 AP), Collection of the MacKenzie Art Gallery. Photo: Don Hall 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 Art Gallery’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. Thick as Thieves is organized and circulated by the MacKenzie Art Gallery. Curated by Crystal Mowry. The MacKenzie receives ongoing support from the South Saskatchewan Community Foundation, Canada Council for the Arts, SaskCulture, City of Regina, University of Regina, and Saskatchewan Arts Board. The Banff iteration of Thick as Thieves is supported by The Rimrock Banff, Alberta Foundation for the Arts, and Bowstrings Heritage Foundation. 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 When our eyes touch Catharine Robb Whyte, O.C. (1906–1979), untitled, 1929, oil on canvas, 53.0 × 43.0 cm, Collection of The Whyte, 1979, WyC.02.16. Portraiture is an intimate art. It renders stillness, togetherness, and careful looking. It requires the hand to move slowly in unison with the eye, the eye tracing the contours of the cheek, mouth, and brow, the encounter transferred to the page. When our eyes touch considers several layers of intimacy: the act of portraiture, the blossoming relationship of two artists, Catharine Robb Whyte and Peter Whyte, and their sustained engagement with community through portrait-making. This exhibition traces two distinct periods and locations in the lives of Catharine and Peter. The year 1925 at the School of the Museum of Fine Arts in Boston marks the beginning of their lifelong pursuit of learning, exploring, and making art together. Through their correspondence and Catharine’s diaries, we see a budding romance as well as the development of their early skills in painting and portraiture. Both describe how their ambition to become artists was intrinsically tied to their partnership and to the support they offered one another. After settling in Banff in 1930, they continued to develop as artists. Their work reveals the lens through which they encountered the Bow Valley community, where they built their lives together. They often painted side by side, creating multiple pairs of paintings, one by Catharine and one by Peter. For Catharine and Peter, portraiture was a way to engage with community. In art school, they sketched their fellow classmates for practice and for fun. In 1930, when Peter brought his new wife back to his hometown of Banff, they rented a cabin for a week at the Morley train station and trading post on the Stoney Nakoda reserve. This allowed Catharine to meet and paint an important part of Peter’s social circle. Ethnographic portraiture was popular during this era, and one can see Catharine and Peter caught up in the excitement of painting subjects perceived as more “exotic” than those they had encountered in art school. However, their portraits of Stoney men, women, and children cannot be reduced to this impulse alone. Several individuals seen in this exhibition held intimate roles in Peter’s life from childhood and remained connected to both Peter and Catharine throughout their lives. While these relationships have often been romanticized and simplified as those of “friends” or “supporters” of the Stoney community, today these works invite us to reflect more deeply on Catharine and Peter’s subject positions within a colonial system that repressed Indigenous communities across the country. Today, these portraits continue to serve as a bridge to community. They invite us to consider not only the intimacy between artist and sitter, but also the layered histories that shaped these encounters. In bringing these works together, When our eyes touch asks what portraiture can hold across time: affection, curiosity, power, memory, and the possibility of renewed dialogue in the present. When our eyes touch is on view from May 1 to November 8, 2026. This exhibition is organized by The Whyte and curated by Christina Cuthbertson, Emma De Sousa, Dagny Dubois, and Brittany Staddon. Experience The Whyte Summer Exhibitions Whether you are drawn to contemporary art, Canadian Rockies history, portraiture, or the hidden stories behind museum collections, these exhibitions offer a thoughtful reason to spend time at The Whyte this summer. Thick as Thieves and When our eyes touch are on view at The Whyte from May 1 to November 8, 2026. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. Plan your visit and discover what’s next at whyte.org. Image Captions Gallery 1: Photos from the Summer 2026 exhibition opening at The Whyte. Photos by Katie Goldie. Gallery 2: Curator’s Talk with Crystal Mowry, curator of Thick as Thieves, followed by a Q&A with Christina Cuthbertson. Photos by Katie Goldie. Back to The Cairn

Back to The Cairn The Whyte is pleased to announce the appointments of Dagny Dubois as Director of Archives and Special Collections and Anaïs Goorriah as Associate Curator of Contemporary Art. These appointments mark an important moment for The Whyte as the museum continues to strengthen its work across archives, exhibitions, contemporary art, and community-centred collections care. Dagny Dubois Dagny Dubois was appointed as Director of Archives and Special Collections at The Whyte in the spring of 2026. A long-standing member of The Whyte’s Archives team, Dagny brings 20 years of professional experience and institutional knowledge to the role, along with a deep commitment to archival stewardship, community access, and relationship-centred collections work. Dagny first joined The Whyte in 2006 through the Education department, where she developed and presented tours for visitors and school groups. During this time, she began building meaningful relationships with local Indigenous community members and Elders, an area of engagement that has remained central to her work throughout her career at The Whyte. Over the past 15 years, Dagny has worked extensively within the Archives department, gaining experience across archival processing, preservation, acquisition, digitization, access, and community-based initiatives. Her work has been shaped by several mentors within the Archives, including her predecessor, former Director of Archives and Special Collections Elizabeth Kundert Cameron, and by a departmental culture that has encouraged rigorous discussion, professional development, and thoughtful approaches to archival practice. As Dagny steps into this new role, The Whyte also looks forward to honouring the remarkable legacy of Elizabeth Kundert Cameron, whose contributions to the Archives will be featured in the next issue of The Cairn. Dagny is widely recognized for her leadership with Recognizing Relations, an initiative that began as an Indigenous photo identification project and has grown into a broader program of community engagement, archival access, and relationship-building. The project reflects Dagny’s ongoing commitment to connecting archival collections with the communities, families, and Nations represented within them. Her academic and professional development has further strengthened this work. In 2018, Dagny received a Master of Arts in Integrated Studies from Athabasca University. Her final project related to Recognizing Relations, while the interdisciplinary nature of the degree deepened her knowledge of photography studies, cultural studies, research methodologies, writing, and new media. These areas continue to inform her approach to archives and collaborative exhibition work across the museum. In her new role, Dagny will lead The Whyte’s Archives and Special Collections department, guiding the care and accessibility of one of the most significant archival collections in the Canadian Rockies. Her appointment marks an important moment for the Archives as The Whyte continues to deepen its responsibilities around stewardship, Truth and Reconciliation, and community-centred archival practice. With her extensive experience, steady leadership, and long-standing connection to this work, Dagny is well positioned to guide Archives and Special Collections into its next chapter, honouring the foundational principles of archives management while developing new frameworks for a changing field. Anaïs Goorriah Anaïs Goorriah joined The Whyte as Associate Curator of Contemporary Art in April 2026. She brings a strong background in exhibitions management, contemporary art curation, public engagement, and interpretive writing, along with a deep commitment to making art accessible, relevant, and meaningful for diverse audiences. With experience shaped by both curatorial practice and exhibition development, Anaïs joins The Whyte at an important time as the museum continues to expand its contemporary art programming and deepen its engagement with artists, audiences, and the cultural conversations shaping the Canadian Rockies and beyond. Having moved across two oceans, I am excited to contribute to The Whyte at that stage of renew and growth. I look forward to working with colleagues across the museum on an exciting exhibition programme for our visitors. Anaïs Goorriah Before joining The Whyte, Anaïs developed experience in exhibitions management and contemporary art curation, with academic and professional roots connected to the Victoria and Albert Museum in London, UK, as well as Lakaz d’Art, Blue Rhino Art Consultancy, and Wolverhampton Art Gallery and Museum. This foundation has supported her work across exhibition planning, research, interpretation, and audience engagement. Anaïs holds a Master of Arts in Contemporary Art Theory from Goldsmiths, University of London, and a Master of Arts in Art Museum and Gallery Studies from the University of Leicester. At The Whyte, Anaïs has already contributed to public-facing exhibition interpretation and writing, including collaborative work connected to the museum’s summer art exhibitions. Her perspective brings fresh energy to The Whyte’s curatorial team, particularly as the museum continues to present exhibitions that connect regional histories, contemporary practice, and broader conversations in art and culture. In her new role, Anaïs will support the development, research, interpretation, and presentation of contemporary art exhibitions at The Whyte. Working alongside the curatorial team, she will help shape exhibitions and programs that invite visitors to engage with art through layered stories, thoughtful interpretation, and meaningful encounters with artists and ideas. Her appointment strengthens The Whyte’s commitment to contemporary art as a vital part of the museum’s work: a space where history, place, identity, and artistic excellence meet. Please join us in welcoming Dagny and Anaïs into their new roles at The Whyte! Back to The Cairn

Back to The Cairn By Christina Cuthbertson, Chief Operating Officer and Curator Image 1 When I arrived at The Whyte, I was captivated by the story of Catharine and Peter Whyte. Like many before me, I began to follow the plot: their art school romance in Boston, Catharine’s gutsy move to Banff, the couple’s friendships with the Stoney people, and Peter’s tragic battle with alcoholism. Their story has all the contours of a Hollywood movie, and there is a Hollywood movie based on their lives. While it may be enticing to think of their lives in these terms – as a story, narrative, or drama, served up for entertainment and easy consumption – the reality of their lives and legacy is much more interesting and nuanced. How It Began In early 2026, when we set out to develop an exhibition of Catharine and Peter’s art, we wanted to understand that nuance through an exploration of intimacy, community, and subject position inherent in their portraiture. The result was When our eyes touch, an exhibition that considers several layers of intimacy: the act of portraiture, the blossoming relationship of two artists, Catharine Robb Whyte and Peter Whyte, and their sustained engagement with community through portrait-making. The When our eyes touch exhibition begins with five drawings by Peter Whyte from the late 1920s that seem to depict his fellow classmate, Catharine Robb, whom he would later marry. It is tempting to cast our imaginations into the setting; one can feel Peter’s gaze on Catharine’s jawline or the bottom curvature of her lip. While portraiture is not always charged with romantic intensity, these drawings offer a glimpse into the self-awareness, relationality, and agency of both the artist and the sitter in their shared moment of creation. Image 2 The title of the exhibition comes from Jacques Derrida, who asks in the opening lines of On Touching, “When our eyes touch, is it day or is it night?” Eye contact is an evocative thing. It can be coded romantically or politically and shaped by power dynamics. It can be furtive, sustained, cautionary, or inviting. For us, this phrase offered a way not only to think about what happens in a portrait sitting, but also what happens when we look back at historical subjects from the present. What do we see? What do we miss? What can we know? And what do we inherit? Understanding Catharine and Peter Through the Archives and Collections The exhibition team included Emma De Sousa, who supported community engagement and curatorial direction; Brittany Staddon, who led archives research and supported exhibition design; Dagny Dubois, who has the most extensive knowledge of the subject and oversaw all aspects of exhibition development; and me, who was newest to the story of Catharine and Peter’s lives and held the position of creative lead on the project. From the beginning, our conversations were shaped by a desire to look closely and carefully. We wanted to honour Catharine and Peter as important community builders and artists, while allowing their humanity to shine through the mythology that has developed around them. Image 3 We started by gathering images and records relating to Catharine and Peter’s portraiture. I printed more than a hundred thumbnail images of portraits they painted throughout their lives, and Brittany sifted through thousands of records in our archives to find photographs from art school, diary entries and letters written by Catharine, notebooks and sketchbooks, and dozens of references to specific portrait sittings. We wanted to know Catharine and Peter on their own terms. In Catharine’s case, this is easier because she was a prolific letter-writer and diarist. There are fewer written records from Peter, so much of what we know of him is filtered through Catharine’s perspective. What we learned from this research is that Catharine and Peter’s fondness for each other grew quickly and endured throughout their lives. We learned that Catharine understood and articulated her privilege, having grown up in a wealthy family, and that she wanted to embrace that privilege to become a great artist. In a diary entry written in 1926, she made a resolution: “I want to be a great artist.” She recognized that she had “every advantage,” that she could buy the best materials and go abroad, but she also understood that privilege did not automatically translate into discipline or achievement. Image 4 Catharine’s diaries also reveal the texture of student life. She admired her teachers and classmates, but despised anatomy assignments. She wrote with frustration and humour about portrait sitters’ restlessness, how they styled themselves, or in some cases how they fell asleep during sittings. She described the challenges of her studies, but also the camaraderie of fellow students working toward faithful depictions of their subjects. Sketching, drawing, and painting together became part of Catharine and Peter’s social life before it became their life’s work. Image 5 One diary entry from November 1927 describes an evening at Peter Whyte’s and Kendal Leece’s apartment. Catharine and her friends had “a beautiful time,” especially drawing Pete in his chaps, “which are beauties,” while also admiring his things. He produced ice cream and cake, “so it was quite a party.” In another entry, Catharine describes Sketch Club at her apartment as “such fun,” noting that they did not do a great deal of work because there were too many stories to tell. These details mattered to us. They made Catharine and Peter feel less like fixed historical figures and more like young artists trying to find their way, surrounded by friends, ambition, self-consciousness, and snacks. Perspectives on Partnership, Friendship, and Community The year 1925 at the School of the Museum of Fine Arts in Boston marks the beginning of their lifelong pursuit of learning, exploring, and making art together. Through their correspondence and Catharine’s diaries, we see a budding romance as well as the development of their early skills in painting and portraiture. Both describe how their ambition to become artists was intrinsically tied to their partnership and to the support they offered one another. In 1928, Peter wrote to Catharine that “it takes courage to say you are going to be an artist and then see it through.” He told her that her “encouragement helped him”, and that he “would help her all he could.” After settling in Banff in 1930, Catharine and Peter continued to develop as artists. Their work reveals the lens through which they encountered the Bow Valley community, where they built their lives together. They often painted side by side, creating multiple pairs of paintings, one by Catharine and one by Peter. In some cases, the works are unsigned and undated, and we do not know which painting is Catharine’s and which is Peter’s. This uncertainty became interesting in itself. It suggested a kind of shared practice, a life in which artistic ambition, domestic partnership, and community engagement were deeply entwined. Image 6 Central to our aims was a desire to think deeply about the relationships between Catharine and Peter and the Stoney people. While these relationships have often been romanticized and simplified as those of “friends” or “supporters” of the Stoney community, we wanted to reflect more deeply on Catharine and Peter’s subject positions within a colonial system that repressed Indigenous communities across the country. We felt that careful reframing was important not only for developing this exhibition, but also for grappling with our present-day responsibilities in an art museum and archives founded by Catharine and Peter, which holds many invaluable records, photographs, portraits, and belongings from the Stoney people. Image 7 In October 1930, when Peter brought his new wife back to his hometown of Banff, they rented a rustic cabin for a week at the Morley train station and trading post on the Stoney Nakoda reserve. This allowed Catharine to meet and paint an important part of Peter’s social circle. Catharine had visited the Canadian Rockies only once before, in the summer of 1929, before relocating to Banff permanently in 1930. Her letters home note the novelty of her new surroundings: the vast foothills, sleeping on the ground, huddling by a woodstove with her new husband and travel companions. Ethnographic portraiture was popular during this era, and one can see Catharine and Peter caught up in the excitement of painting subjects they may have perceived as more “exotic” than those they had encountered in art school. However, their portraits of Stoney men, women, and children cannot be reduced to this impulse alone. Several individuals seen in this exhibition held intimate roles in Peter’s life from childhood and remained connected to both Peter and Catharine throughout their lives. The letters also describe unexpected sitters arriving wanting their portraits painted, having chosen specific clothing and accessories to wear. It was common in this era for artists and photographers to style Indigenous subjects in exaggerated costumes, removing the unique identifiers and specificity of the individual, resulting in romanticized images that would appeal to a broad market. It is notable that Catharine and Peter painted their subjects in their chosen attire, respecting their agency and individuality. That does not erase the colonial context, but it does complicate the story. In early March, our Hosting Indigenous Community Relations team created an outreach event at the Bearspaw Youth Centre in Mînî Thnî. The goal was to share a collection of portraits being considered for the exhibition. We wanted to provide an opportunity for Stoney community members to view these works because it was likely that some of their ancestors were portrayed. In some cases where identities were unknown, we were hopeful that the sitters could be identified. Overarching all of this, the team wanted to create access and a sense of excitement around the celebration of these works. Image 8 Image 9 This engagement shaped the exhibition in practical and meaningful ways. Wherever possible, we included full names in English, as well as Stoney, or Iêthka, language names with English translations. In one case, during the community engagement visit in Mînî Thnî, Nancy Abraham’s maiden name was confirmed by members of her family. These inclusions into portrait titles are part of The Whyte’s ongoing work to better restore specificity and acknowledge that these portraits continue to live within communities today. Image 10 One of the most moving groupings in the exhibition centres on David Bearspaw Sr. and his granddaughter Reba. In July 1933, Catharine wrote to her mother that the Bearspaw family came to have their portraits painted. David Bearspaw and his wife were, in her words, “a fine looking couple,” and they had “the dearest little granddaughter with them.” A few days later, she described the challenge of painting Reba, noting that the only way to keep her still was “to fascinate her by looking at her as hard as possible,” but that the fascination wore off all too quickly. This is such a vivid description of portraiture as a physical and relational exchange. It is also a reminder that behind every finished painting is a human encounter, sometimes patient, sometimes funny, sometimes imperfect. Looking Again at Legacy What happens when we lean into the familiar narratives, smooth out their edges, and languish in the glow of our founders’ larger-than-life reputations? What happens if we stop questioning the lore in favour of the manicured personae, affectionately sculpted by many years of telling and retelling? Would Catharine and Peter endorse such a rose-coloured tint? I don’t know. But in my view, we do more justice to their memories when we allow their humanity and specificity into the frame. There is plenty to celebrate. Catharine and Peter spent their lives painting, building community, collecting, travelling, learning, and financially supporting worthy causes throughout the Bow Valley. They were important artists and community builders. They helped shape the cultural life of Banff not only through the works they made, but through the relationships, collections, archives, and institutions they left behind. Our goal should not be to preserve a shrine to Catharine and Peter, but to carry on in their footsteps while being honest about the fullness of their lives. They were just two people trying to do right in the world. They succeeded and failed, were knocked down and got back up, and kept making. When our eyes touch was an opportunity to look again and to see their artwork and their humanity more clearly. Experience the When our eyes touch Exhibition for Yourself When our eyes touch invites visitors to look again at Catharine and Peter Whyte’s artwork, relationships, and legacy through the intimate act of portraiture. Plan your visit to experience the exhibition in person, take your time with the works, and consider what these portraits continue to reveal about art, community, and the stories we inherit. Follow us on social for exhibition highlights, behind-the-scenes updates, and more stories from The Whyte’s collections and archives. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. Photo credits: Image 1: Visitor viewing the feature wall of the When our eyes touch exhibition, on view at The Whyte from May to October 2026. Image 2: Peter Whyte (1905 – 1966, Canadian). Untitled. 1928. charcoal on paper. 34.0 x 26.0 cm. Gift of Catharine Robb Whyte, O. C., Banff, 1975. WyP.03.006. Whyte Museum of the Canadian Rockies. Image 3: Peter whyte. 1929 Painting class, 2nd year [Peter Whyte and Catharine Robb, second and third from left], 1929. Peter and Catharine Whyte fonds (V683/II/A/PA-686) Image 4: Catharine's diary entry from 1926 while attending the School of the Museum of Fine Arts in Boston. Image 5: Peter Whyte (1905 – 1966, Canadian). Untitled. 1927. conté on paper. 27.6 x 21.2 cm. Gift of Catharine Robb Whyte, O. C., Banff, 1979. WyP.03.838. Whyte Museum of the Canadian Rockies. Image 6: Visitors taking in the When our eyes touch exhibition, on view at The Whyte from May to October 2026. Image 7: Foothills from train at Morley, [ca. 1940], Nicholas Morant fonds (V500/I/A2/S-13) Image 8: Outreach event at the Bearspaw Youth Centre in Mînî Thnî, facilitated by the Hosting Indigenous Community Relations team in March 2026. Image 9: Outreach event at the Bearspaw Youth Centre in Mînî Thnî, facilitated by the Hosting Indigenous Community Relations team in March 2026. Image 10: Catharine Robb Whyte, O. C. (1906 – 1979, Canadian). Reba Bearspaw. 1933. oil on canvas. 35.3 x 27.6 cm. Gift of Catharine Robb Whyte, O. C., Banff, 1979. WyC.01.410. Whyte Museum of the Canadian Rockies. Back to The Cairn

Back to The Cairn By Emma De Sousa, Curatorial Assistant & Indigenous Artist Mentorship Program Manager The Indigenous Artist Mentorship Project (I AM) is a one-year artistic mentorship initiative in which 13 Indigenous artists work alongside artistic mentors AJA Louden and Joseph M. Sanchez to produce brand-new works for a large-scale exhibition, set to open at The Whyte in November of 2026. How It Began Beginning this past September as a successor project to The Cave & Basin Mural Program, done in collaboration with Parks Canada, the I AM project invited all past program participants back to close out the four-year mural program in an intimate ceremony and to embark on a week-long artistic mentorship workshop at The Whyte. There, artists engaged with the archival and curatorial collections, as well as the exhibition The Ancestors Are Talking: Paintings by The Indigenous Seven, with Curator Joseph M. Sanchez and began developing concepts for an exhibition of their own as the next generation of contemporary Indigenous artists. Initially created as a response to The Ancestors Are Talking, this upcoming exhibition continues the artistic projects and programming at The Whyte that support both up-and-coming and established Indigenous artists from the Bow Valley and surrounding areas. During the artist workshop, many incredible ideas, concepts, and dreams emerged from the artists themselves and through their interactions as a cohort. As a result, the initial concept was broadened, expanding upon the creative scope and curatorial possibilities of what an exhibition of next generation Indigenous artists could be. As a result, the I AM exhibition will present a broad range of artistic media from thirteen artists – these represent ambitious “dream” work for many of the artists. Our goal to provide time, resources, materials, and mentorship to foster the creation of new works. Mentorship as a Way of Being The idea of this artistic cohort being in relation with one another, whether through nationhood, artistic process, locality, kinship, or experience, is a concept and practice embedded in this exhibition and in Indigenous curation as a discipline. The I AM project seeks to foster relationality, connection, and support that is interwoven within the entire project network. This aspect of the initiative shines when mentorship is prioritized as a key component of the work. Artistic mentors Joseph M. Sanchez and AJA Louden have a beautiful way of connecting with artists, fostering bonds and supporting artistic projects through the logistical, physical, and often spiritual and personal aspects of artistic creation. Having a cohort that has previously established mentor/mentee interpersonal relationships through the Mural Program is doubly advantageous, as trust, friendship and care already sit within the space. Mentor and artist Joseph Sanchez during the workshop portion of the Indigenous Artist Mentorship Project. I myself, as the emerging curator on the project, have experienced firsthand the importance of having access to mentorship and intergenerational learning opportunities within the arts. I’ve learned an immense amount from simply sitting in a space with artists working. Engaging with them on their ideas, hearing about their lives and processes, watching experienced mentors provide advice, and seeing mentors learn from new techniques and ideas of their mentees. The artists in this cohort are from all age groups, multiple communities, and working in diverse mediums. This adds to the creativity and array of visual aesthetics and practice that is usually available to an emerging curator in one show. There is care rooted in this type of practice that ultimately makes more room for ingenuity and brilliance in the work. Meet the Artists The 13 artists in the cohort are at various stages of their careers and practices and come from unique backgrounds. Here we introduce them all for the first time! Artist Bruno Canadien Bruno Canadien (b.1972) is a multidisciplinary visual artist based in Black Diamond, AB. His practice investigates Indigenous presence, kinship and relationality in a contemporary context. A member of the Deh Gah Got’íé First Nation of Zhati Ko, Denendeh, a Deh Cho Region Member of the Dene Nation, Bruno acts as both a participating artist and mentor in the I AM project and has acted as a participating mentor and artist in the Mural Program in previous years. Artist Cheyenne Bearspaw Cheyenne Bearspaw (b. 1994) is a Stoney Nakoda artist based in Mînî Thnî, AB. Their multimedia artistic practice spans visual storytelling and traditional practice. They incorporate land-based materials and technology into their research, mural art, digital illustration, and curatorial work. Cheyenne’s community-based focus often becomes a tool for storytelling and reclamation rather than pure aesthetic explorations. Artist Brandon Atkinson Brandon Atkinson (b. 1988) is a Métis artist with ties rooted to Edmonton, Manitoba and Wales and is based in Buffalo Lake Métis Settlement, AB. His vibrant pen-and-ink style can be found throughout the province, where his practice explores concepts of heritage, history, and personal/spiritual significance through intricate visuals. Brandon’s work is greatly inspired by his upbringing and close relationship with his family. Artist Giona Smalleyes Giona Smalleyes (b. 1998) is an emerging Stoney filmmaker, painter, bead worker, and researcher based in Mînî Thnî, AB. Her practice originates from her family and community, as well as working closely with the Nakoda AV Club. Rooted primarily in research methodology, her art stems from detail and information she finds while working with belongings from her community held in museum collections and archives globally. Artist Brendon Many Bears Brendon Many Bears is a Blackfoot artist and archaeologist from the Siksika Nation based in Moh’kinstsis (Calgary, AB). He finds inspiration through traditional stories, cultural symbols and history with the goal of giving others a better understanding of his culture. Brendon’s work seamlessly integrates Blackfoot culture into his art and educational practice. Artist Hali Heavy Shield Hali Heavy Shield (b. 1977) is a multidisciplinary artist, author, mentor and emerging curator from Kainai Nation (Blood Tribe) in southern Alberta. Utilizing the mediums of murals, beadwork, digital media, and illustration, her research and artistic practice consider themes of identity, history, community, and Blackfoot pedagogy. Hali’s work often incorporates Blackfoot storytelling traditions, land-based knowledge, and multigenerational learning. Artist Gordon Wesley Gordon Wesley (b. 1977) focuses on bringing life of the wild into his art, where he channels imagery of wildlife through memory and personal experience. A proud Stoney Nakoda from the Bighorn Reserve, this is where he was inspired to create life on canvas through oil paintings and large-scale murals. Artist Kristy North Peigan Kristy North Peigan (b. 1991) is a Piikani/Peigan First Nation member and freelance artist and designer based in Calgary, AB. Kristy's surreal and futuristic style juxtaposes digital painting with oil and canvas in her work. Kristy uses community teachings to portray modern views of Indigenous voices and spaces. Artist Jarron Poucette Jarron Poucette (b. 1988) was born, raised, and is currently based in Mînî Thnî, AB, where he developed his artistic practice considering the community around him. Starting his art practice at just three years old, Jarron draws and paints based on what he grew up seeing. Further developing his practice through high school into oil painting, tattooing, and moving between creative mediums whenever looking for a creative shift. Artist Tiffany Wollman Tiffany Wollman (b. 1984) is a contemporary Métis artist based in Calgary, AB. Motivated by a sensitivity to the passing of time and a responsibility to protect the land and water, Tiffany's painting practice is paced between periods of productive energy and quiet reflection. Her gentle palette sits between synthetic hues and subdued pastels, which reference natural and artificial elements of representation. Artist Nathan Meguinis Nathan Meguinis (b. 1980) is a self-taught artist/muralist, grass dancer, active yellowhand, and pipe carrier in training who is from the Tsuut’ina Dene Nation. His art is infused with contemporary stylizations and mixed abstraction and realism to speak about historical events, stories, or philosophies. Through his work Nathan offers a distinctive process to creating pieces that stand out for their cultural depth, unique style, and the positive energy they evoke. Artist Lillian Rose Lillian Rose (b. 1959) is an ʔakisq̓nik and a Ktunaxa artist and traditional knowledge holder, with formal training, professional experience, and knowledge of Ktunaxa-specific archaeology, traditional use sites and harvesting practices. Specializing in Ktunaxa basket-making, she has also worked in publishing and design, supporting Ktunaxa storytelling and communications projects Artist Kyle Kaquitts Kyle Kaquitts (b. 1983) is an Indigenous painter from Mînî Thnî, AB, where he was raised within the lands of the Stoney Nakoda Nation. Growing up closely with his late grandfather, Sitting Wind, Kyle was introduced to art at a young age. His early artistic exposure fostered a lifelong dedication to creative expression through mural work, painting, and drum making. The Indigenous Artist Mentorship Project: The Work Underway The 13 artists are currently in the artistic production portion of their projects. Each is actively working on either a single piece or a collection of pieces, to be included in the exhibition opening in November 2026. While each artist operates in their own process, space, and in their own way over the course of the year, the artists stay in touch with other cohort members and mentors. Whether planning meet-ups when they’re in the same place, chatting over WhatsApp, or meeting virtually on a regular basis, the I AM project cohort and mentors are staying in contact to keep track of progress and offer insights on logistical needs that come while creating large-scale works. As emerging curator and project lead, I work closely with each artist and the mentors to curate the exhibition, based on the learnings I’ve received from the artists and considering the relationships and aesthetic conversations between and around each of the works. While the central theme of the exhibition is rooted in concepts of relationality and mentorship, each piece engages with these concepts in unique ways. These themes include personal history and understandings of land and place, relationality to human and animal relatives, reflection and inspiration from aesthetics and artistic practices of the Indigenous Group of Seven, and pop culture and contemporary impacts on Indigenous arts and lifeways. Once these pieces are complete, they will be installed in The Whyte in collaboration with artists and mentors. The exhibition itself is the outcome of a meaningful process of learning, relationship building and artistic development among this cohort of artists, curators, and mentors. Follow I AM As we make our way through the I AM project artistic and exhibition development, we hope you’ll follow along on socials and through articles in The Cairn to keep up to date on project updates, more artist introductions, and sneak peeks of the winter exhibition! This is a show you won’t want to miss, so make a plan to visit us during the exhibition run to experience these incredible artists' new works firsthand. Ka-waapamitin – See you later! This exhibition is generously supported by TD, Alberta Foundation for the Arts, and Calgary Foundation. Experience It for Yourself The I AM exhibition opens at The Whyte in November 2026. Plan your visit, stay connected with the project, and be part of this moment in Indigenous contemporary art. 🔔 Follow us on social for artist spotlights, behind-the-scenes updates, and sneak peeks as the works come to life. 📬 Sign up for The Cairn to get project updates and exhibition news delivered straight to your inbox. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB Back to The Cairn

Back to The Cairn By Kate Riordon, Reference Archivist Photo by Sarah Abraham - Grade 10 Canmore Community High School. With the rise of spring in the Bow Valley, student participants of the wildly popular photography program Through the Lens were getting ready to see their work on the walls of The Whyte’s Founders Gallery. A Program Rooted in the Bow Valley Originally founded by The Whyte in 1997 by then-Curator of Photography, Craig Richards, the Through the Lens program teaches students from Banff, Canmore, and Mînî Thnî (Morley) the art and science of film photography. Led by Richards annually until his retirement from The Whyte in 2017, the program followed a five-month structure that equipped students with their own 35mm film cameras and set them loose to see how they would capture their worlds. At the end of the instruction period, the students’ photos were professionally printed in Calgary at what is now the Alberta University of the Arts, framed, and hung in a curated exhibition at The Whyte. Guests at the private opening of Through the Lens, June 2026. Revived in 2024 by former participants Nic Latulippe and Soloman Chiniquay, today’s students are still using the analog cameras to explore this almost entirely digital age. Of this year’s program, Latulippe and Chiniquay said that their favourite part of Through the Lens is getting to see the world through the teenage perspective, including "what they think is interesting, funny, or just simply important to capture in a photograph." A sentiment all the more potent when each click of the shutter means no do-overs. Film in a Digital World While photography has always been a tool for storytelling, the way those stories are told has changed drastically since this program first started. At the turn of the millennium, digital cameras were quickly outpacing film cameras, granting people the ability to take as many photos as they wanted without fear of ruining or wasting precious film. Early social media sites in the 2000s became flooded with digital albums of hundreds of photos taken in a single afternoon, capturing every movement from every possible angle. Often blurry, poorly exposed, or completely out of focus, the amount of visual material being created was staggering, and there was room for all of it. To be a teenager in possession of a digital camera during this time was an enthusiastic display of excess. Meanwhile, analogue photography continued to persist; quietly and dedicatedly fostered in the Bow Valley communities by passionate and curious students, instructed by professional photographers who understood the artistic merits of film. A Record-Breaking Year This year, 48 students, under the guidance of Latulippe and Chiniquay, shot 10,800 photographs on 450 rolls of 35mm film – a record-breaking output from Through the Lens participants. Also new this year, thanks in large part to funding graciously provided by the Wim & Nancy Pauw Foundation, more classes were offered, allowing students to learn different photographic styles and spend more time in the darkroom. Supporters of Through the Lens examine the commemorative photography book for the 2026 program. While more funding allows for more film, it doesn’t change the core teachings of Through the Lens: intention, patience, and technique. In a digital world of rapid-fire shutter speeds and as many photos as you can fit on a memory card, Latulippe and Chiniquay are teaching students how to find the perfect photo. To look at the world around them – their families and friends, their pets, wildlife, the landscape, themselves – and intentionally choose the moment to preserve on film. Through the Lens Tells a Visual Story of the Bow Valley As a program, Through the Lens has created an extensive visual story of the Bow Valley as seen through its youth. Housed in The Whyte’s vault long after they come off the gallery walls, these photographs capture the people, places, feelings, and moments most important to these young artists year after year. We’re grateful to Nic and Soloman for reviving this incredibly important community arts program and for carrying it forward to today’s students, who continue to show year after year an ongoing enthusiasm for and dedication to the art of analogue photography. Photo Gallery of the private exhibition opening for Through the Lens, June 5, 2026. Join us in congratulating this year’s Through the Lens participants on their exhibition pieces, on display in The Whyte’s Founders Gallery, which opened June 5, 2026. This program is generously supported by the Wim & Nancy Pauw Foundation. Experience It for Yourself Don’t miss your chance to experience the Bow Valley through the eyes of its youth. Through the Lens is on view in The Whyte’s Founders Gallery from June 5 through the fall. Plan your visit, stop in, and take your time with this thoughtful exhibition. These images offer a fresh perspective on place, community, and life in the Bow Valley. Follow us on social and keep an eye on The Cairn for more updates on this exhibition, along with upcoming programs and events at The Whyte. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB Back to The Cairn

Back to The Cairn By Anaïs Goorriah, Associate Curator of Contemporary Art, and Julie Fesseler, Tour Program Manager Before you visit The Whyte this summer, here are five details worth slowing down for in our current exhibitions. From hidden stories and rare Rodin sculptures to archival photographs, portraits, and unexpected moments of recognition, Thick as Thieves and When our eyes touch invite visitors to look closer at art, memory, power, and connection. Thick as Thieves is a contemporary art exhibition organized by MacKenzie Art Gallery and curated by nationally recognized curator Crystal Mowry. When our eyes touch is a collaboratively curated exhibition of Peter and Catharine Whyte’s work by our Archives and Curatorial teams. Together, these exhibitions invite reflection on themes of trust, power and community, and the stories we tell through art, archives, and relationships. Here are five things to look for during your visit: The Stories Behind the Story Throughout Thick as Thieves, we can observe common themes such as trust, power and community, but what unites the display is the stories behind the story. During the opening night, curator Crystal Mowry unravelled the many secrets and anecdotes that dot the exhibition. A crowd favourite is the story behind King Nobbler’s Double (1916), which speaks to the powerful bond between humans and our furry companions – and, more specifically, how collector Mr. Norman Mackenzie documented his love for his dog more than his relationship with his wife. Find more of those anecdotal stories by reading the labels, or join one of our Art Gallery tours for more stories behind the story. Nic Wilson's Indexes and Voids In a display that is constantly reinventing itself, Nic Wilson’s practice interrogates the spaces between what’s seen and unseen – the index and the void. The combination of the index and the forms can be read as an experimental form of writing, complemented by the void the forms create. The juxtaposition of the hand-cut pieces grounds itself in themes of the exhibition and in multiple conversations between the curator and Wilson. An intriguing index is the plastic bag…. Can you find it? 3. Is That a Rodin? You’re right! Walking past Behind this lies my true desires for you (2012/2026) installation by August Klintberg, you will encounter not one but two of Rodin’s sculptures. Auguste Rodin’s sculptures are not represented in the permanent collections of major public galleries in Alberta, making this a rare opportunity to view two works by the founder of modern sculpture. Eternal Spring and The Kiss offer an intimate look at the artist’s craftsmanship but speak louder to Rodin’s conflicting relationship with Camille Claudel. The story is explored under the theme of desire and power. Before you leave, make sure to continue your journey to the Rummel Room through the Heritage Gallery. 4. Hold Still. Don’t Move. In When our eyes touch, we explore a different narrative to the relationship Catharine Robb Whyte and Peter Whyte entertained with members of the Bow Valley community. Long unquestioned as friends, the exhibition interrogates the power dynamics of those relationships to the community through the lens of Catharine and Peter’s portraiture painting practice from art school and beyond. This is an invitation to look at the Whyte’s paintings with fresh eyes. 5. Identifying the Sitter Turning the corner of the Rummel Room into our Reading Room, you can find photographs of Peter and Catharine’s art school days. The couple entered the School of the Museum of Fine Arts in Boston in 1925, where this story begins. The sitters in When our eyes touch can be spotted in photographs alluring to the artistic ability of Peter and Catharine to capture likeness. Flick through our photo archives to identify sitters. Bonus point if you can spot the photograph from which Peter Whyte’s Untitled (1937) was based in the Recognizing Relations photograph collection. That project began as a community naming project, bringing archival photographs of unidentified Indigenous people to local Elders in hopes of identifying those photographed by name. Experience The Whyte's Summer Exhibitions in Banff As you navigate through the galleries, we invite you to wonder, to find something you didn't expect – in a portrait, on a label, in an archive photo that catches your eye, or a piece of art that stays with you. We can’t wait to share these summer exhibitions with you. Learn more about our exhibitions, guided tours, and events on our website, and begin planning your visit today. Once you're here, dig deeper into the exhibition by joining a guided tour of the galleries, free with museum admission. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. Join us in person to discover the stories, portraits, archival photographs, and unexpected details waiting inside Thick as Thieves and When our eyes touch this summer. Follow us on social media and keep an eye on The Cairn for more exhibition stories, behind-the-scenes insights, and upcoming programs at The Whyte. Back to The Cairn

Back to The Cairn On May 2, 2026, The Whyte hosted the Thick as Thieves curator talk with Crystal Mowry, Curator of the exhibition, in conversation with Christina Cuthbertson, Chief Curator at The Whyte. Organized and circulated by the MacKenzie Art Gallery, Thick as Thieves brought together works from the Mackenzie Art Gallery’s Permanent Collection that explored trust, influence, collaboration, secrecy, and the hidden ties that shape how we relate to one another. Through Crystal's talk and a following Q&A conversation, Mowry and Cuthbertson offered deeper insight into the exhibition’s themes, curatorial approach, and resonance within The Whyte’s summer exhibition program. If you missed the talk, we invite you to visit The Whyte and experience Thick as Thieves in person. The exhibition is on view from May 1 to November 8, 2026, alongside When our eyes touch in the Rummel Gallery. The Whyte is located at 111 Bear Street in Banff, Alberta and is open daily from 10 a.m. to 5 p.m. Plan your visit, explore current exhibitions, and learn more about upcoming programs. Back to The Cairn

Back to The Cairn By Mabelle Carvajal, Member, Donor and Visitor Experience Coordinator Summer in Banff has its own rhythm: long trail days, cool mountain evenings, and the irresistible pull of a good book tucked into your backpack. If you’re looking for things to do in Banff this summer, make time for a visit to The Bookstore at The Whyte. Our staff has curated a summer reading list featuring Canadian authors, with stories that move through love, landscape, poetry, ecology, reconciliation, and the histories that shape this place. The Cure for Drowning
Loghan Paylor “Evocative, magical and luminously written, The Cure for Drowning is not only a brilliant, boundary-pushing love story but a Canadian historical novel that boldly centres queer and non-binary characters in unprecedented ways.” Loghan Paylor’s powerfully written debut novel won the 2026 CBC Canada Reads award and was longlisted for the 2024 Giller Award- the perfect summer love story. Buffalo Lessons
Karsten Heuer Visitors to Banff often inquire about the bison herd that roams in the national park. Once freely roaming across North America thousands of years ago, millions of bison were nearly driven to extinction by European settlers in the 1800s. Buffalo Lessons describes the enormous undertaking of reintroducing wild bison to the national park and their triumphant return. Written by the wildlife conservationist and biologist who led the project, the late Karsten Heuer, this breathtaking book describes and provides behind-the-scenes photographs of this ambitious conservation effort, one of the largest of its kind in North America. Do It Wrong
Derek Beaulieu Derek Beaulieu is the Director of Literary Arts at Banff Centre for Arts and Creativity and Banff’s former Poet Laureate. In Do It Wrong, he writes, “Given the meagre audience for poetry and the microscopic financial rewards, I suggest that you not only dance like no one is watching but write as if no one is reading you. Because metaphorically—and mathematically—no one is.” Delightfully playful, insightful and inspiring, Beaulieu’s book is more than a manual- it is a thoughtful appeal to the importance of generosity and community. When the Forest Breathes
Suzanne Simard “The trailblazing scientist who pioneered the once-radical—and now broadly accepted—concept of sophisticated communication between trees returns with a book that blends rigorous science and neglected Indigenous wisdom in service of a powerful vision for the future of our forests.” Elegantly written by Suzanne Simard, a professor of forest ecology at UBC, and the author behind the popularization of the term, “world wide web”, When the Forest Breathes is part memoir, part field-based scientific findings. Ally is a Verb
Rose LeMay Rose LeMay’s Ally is a Verb is a must-read for anyone wanting to deepen their understanding of the history and perspective of Indigenous people in Canada. A CEO, speaker, coach and best-selling author, LeMay deftly challenges us to rethink the idea of allyship as an identity, and rather, as an ongoing practice. Summer Reads Start at The Bookstore at The Whyte Whether you’re looking for a thoughtful gift, a new perspective on the landscapes around you, or the perfect book to bring along on a summer afternoon in the Rockies, our bookstore is a beautiful place to start. Visit The Bookstore at The Whyte at 111 Bear Street in Banff and explore our full selection of books, gifts, and locally inspired finds. The Whyte is open daily from 10 a.m. to 5 p.m. Back to The Cairn

Back to The Cairn By Julie Fesseler, Tour Program Manager Every summer at The Whyte, a new team of Museum Interpreters brings Banff to life. Part storyteller, part guide, part cultural connector, they are the friendly faces who welcome visitors into Banff’s art, history, and culture. Their work is more than simply leading tours; it’s about opening doors into the past, sparking curiosity, and helping visitors see this extraordinary place with fresh eyes. Whether you are interested in the impressive legacy of the Whytes, the history of the Canadian Rockies, or the fine arts, our interpreters are eager to guide you through it. Our team this year brings enthusiasm, a hunger for learning and an abundance of interest in sharing Banff with you. Julia, Matt, Meghan, and Olivia are joining The Whyte from across Canada, and they come with diverse academic and museum backgrounds. Yet despite their differences, their interests unite in one central focus: the shared passion to connect people to place, and the shared belief that Banff’s cultural heritage is as inspiring as its landscape. A Shared Passion for Our Cultural Landscape Each interpreter is bringing a special enthusiasm to this team, stemming from their own interests. Julia, originally from Fort McMurray and a recent Queen’s University graduate, wanted to experience a new part of Canada. “I have a passion for land‑based knowledge and local Canadian art and history, so the Whyte felt like a natural first pick.” Matt, raised between Calgary and Harvie Heights, brings both a local’s familiarity and a historian’s curiosity. “Since I partially grew up here, I’m able to connect very well with the stories being told.” Currently studying History at the University of Calgary, he sees this role as a meaningful step toward a future in museums or other historical professions. Born and raised in Calgary, Meghan studies history with a focus on women’s grassroots organizations in Calgary around the mid-20th century. She was drawn to the museum’s blend of contemporary and historical storytelling, which she says, "creates a really interesting interaction with Banff and its legacies." Originally from Windsor, Olivia holds a Master’s in Art and Architectural History and has worked in art galleries, archives, and heritage homes. Her interests include Canadian modern women painters and the evolution of landscape painting. She was inspired by Banff’s intertwined natural and cultural histories, and by the opportunity to help others connect with them. As she puts it, “I find a lot of joy in encouraging people to have meaningful interactions with art and material culture, and to look with intention both inside and outside the gallery.” What unites them is a shared fascination with Banff’s cultural landscape and a desire to help visitors see this place in a new way. Each interpreter has found stories that resonate personally - from the early days of skiing in the Rockies to Mary Schäffer’s colourized photographs, from Catharine Robb Whyte’s evocative portraits to the building of the railroad and the early infrastructures of the park. Together, they bring a blend of passion, perspective and lived experience that enriches every tour. Their conversations with visitors often spark unexpected connections: memories of family trips, reflections on art, or new insights into the land itself. In this way, the interpreters serve as a bridge between the stories and those who are here today to learn about them. As Julia says, “The way in which The Whyte is able to convey this rich culture and history is such a valuable tool that I think visitors need to take advantage of.” The Interpretation team is excited to welcome you and to help you see this place in a new way! Discover Guided Summer Tours in Banff The Whyte’s summer guided tours offer several ways to experience Banff’s art, history, and cultural landscape: Thick as Thieves Summer Exhibition Tour: A short guided tour through The Whyte’s current summer exhibition, free with admission. Banff Historic Homes Tour: A 25-minute tour inside the historic homes of Peter Whyte and Catharine Robb Whyte, as well as Philip and Pearl Moore. Heritage Gallery Tour: A 25-minute guided tour exploring the layered histories of Banff, the Bow Valley, and the people and places that shaped them, free with admission. Banff Walking Tour: A 60-minute guided walk through town, sharing stories of Banff’s early development, historic buildings, entrepreneurs, adventurers, and community members. Private Group Tours: Available by request, including Historic Homes, Historic Banff Walk, Heritage Gallery Tour, and the Women of the Rockies slideshow presentation. If you are planning a visit to Banff this summer and are searching for a meaningful way to connect with the area, be sure to attend a summer tour at The Whyte. Meet the team, explore the Heritage Gallery, wander through the art exhibitions, step inside the Historic Homes, and experience Banff’s stories through the people who love sharing them. The Whyte is open daily from 10 a.m. to 5 p.m. at 111 Bear Street in Banff, with tours offered throughout the season. To view current tour times, admission details, and booking information, visit the Tours page. Back to The Cairn

Back to The Cairn By Lachlan Mackintosh, Fund Development Manager Take a closer look at how donor support at The Whyte helps preserve stories, care for collections, support artists, and create meaningful connections across generations. There are many ways to contribute to The Whyte. Some individuals have contributed family history in the form of artifacts or artwork; some have contributed through archival materials, such as books, letters, or photographs. Others contribute by making a monthly or annual financial gift to the organization. As the new Fund Development Manager, I wanted to hear from my colleagues about the real impact of donor support. Here are a few stories from behind-the-scenes that get at the heart of the “why” we do the work we do and how an ambitious art museum in Banff is making a difference in our community. When you support The Whyte, you are supporting the daily work of individuals and departments caring for art, preserving stories, researching histories, building exhibitions, and creating meaningful visitor experiences. Below you will find a few highlights of the breadth of careful work across departments and disciplines. This summer, we ask you to become part of the community of donors who support our museum work. Exhibitions: Meaningful Encounters with Art Christina Cuthbertson Curator and Chief of Operations An exhibition is more than art on a wall; it is a conversation. Through the Lens is a powerful partnership between the community and the museum that began 30 years ago. This innovative program has introduced more than 600 students from Banff, Canmore, and Mînî Thnî to the art and technique of 35 mm film photography. When we invite students into The Whyte for the first time, we break down barriers and turn passive viewing into active community connection. “Growing up in rural Alberta, I never considered art a serious part of my life. But that changed when I was in Grade 12 and my art teacher submitted one of my drawings to a program called Art is Alive and Well, an annual community outreach exhibition at the Southern Alberta Art Gallery (SAAG). I went to the opening reception and was wandering around the SAAG’s upper gallery space when I came across a collection of tree branches hanging from the ceiling. Initially it looked completely random until I walked to the far end of the room and suddenly the suspended branches formed the outline of a gigantic floating boat! Something clicked for me that day; it was the first time that I understood that my perspective – where I stood, where I looked, what I paid attention to – could matter. It was a transformative experience that ultimately led me on a path to being a curator. That is why I love Through the Lens so much, because I know what it could mean to some of those students. Art could be the thing that helps give them meaning, direction, and purpose like it did for me.” – Christina Cuthbertson Students at the 2026 Exhibition Opening of Through the Lens. If you’re interested in widening the perspectives of youth and community, consider donating to The Whyte. Your support makes it possible to run programs like Through the Lens and helps us bring world-class exhibitions to Banff. Research: Cultural Memory Chic Scott Researcher, Writer, Donor Chic is a legendary Banff-based mountaineer, ski pioneer, author, and mountain historian. Donors who have supported The Whyte have supported Chic’s highly acclaimed literature documenting the history of mountaineering in the Canadian Rockies. Many of his books have been thoroughly informed and researched here at The Whyte. Chic Scott at his final Fireside Chat in 2026. “I have had a wonderful 40 years of collaboration with the Whyte Museum. It is the heart and soul of Banff and the Bow Valley.” – Chic Scott Launching Artistic Careers: Indigenous Artists Mentorship Emma De Sousa Indigenous Artist Mentorship Program Manager The Indigenous Artists Mentorship (I AM) program is incredibly important as it provides professional opportunities for Indigenous artists. This program was born out of The Ancestors are Talking, an exhibition featuring the Indigenous Group of Seven and curated by its last surviving member, Joseph Sanchez. It was important to Joseph that he pass on the kind of mentorship he had received early in his career by working with Indigenous artists to support their artistic and career development. When you donate to The Whyte, you’re ensuring that artists and curators are receiving the critical support they need during pivotal moments in their career development. Tiffany Wollman at the initial workshop of the Indigenous Artist Mentorship Program in Autumn of 2025. “As an emerging Métis curator, the I AM project offers me the phenomenal opportunity to curate within a wide array of artistic practice, medium, style, and conceptual frameworks. This project encourages artists to produce the works that have been sitting in their sketchbooks, waiting to become a reality. This project is a natural extension of the unique relationship that our Founders Peter and Catharine Whyte had with Indigenous artists throughout Western Canada and globally.” – Emma De Sousa Connecting Generations: When Archives and Collections Gain New Life Dagny Dubois Director of Archives and Special Collections Last summer, Travis Rider of the Hosting Indigenous Community Relations (HICR) team found two souvenir plates in the Curatorial database that belonged to Peter and Catharine Whyte. On the plate was an image of his great-grandparents, Nat and Gertrude Hunter, with their horse, wearing a beautiful set of yellow and red regalia. He was curious whether we held that regalia in the museum collection, and through connecting with the Curatorial department, saw that yes indeed, we did. Iona, Faith, Fawn, Michelle, Katelyn and Shikoda Beaver restoring the regalia of their ancestors Nat and Gertrude Hunter. As the HICR team had been asked to co-curate a new section of the Heritage Gallery, it was decided to include this regalia to tell the story of Banff Indian Days from an Indigenous perspective. HICR led a consultation engagement with members of the Hunter and Beaver families, during which we heard more about the making of the regalia and its importance. Some of the women in the family recognized that the regalia needed some care, and we were able to support Iona, Faith, Fawn, Michelle, Katelyn and Shikoda Beaver to come back to The Whyte to repair and clean the pieces over the course of a couple of days. The younger women brought their children to be present, so there were three generations of family caring for these belongings, getting them ready for display. “It was so meaningful to be able to support the Hunter/Beaver family to engage with the regalia of their ancestors Nat and Gertrude Hunter, and to learn about the maker Mary Jane (Hunter) Beaver, who created this complex and large piece with the help of Elaine and Stella Rollinmud, Violet Beaver and Margaret Bearspaw. To take it a step further and be able to engage the daughters and granddaughters of Mary Jane to repair and clean the regalia for exhibit felt like completing a circle. It also felt aligned to what I feel like Catharine Whyte would have liked to have seen take place, to be in good relationship with the Stoney community in that way.” – Dagny Dubois Visitor Services: Welcoming the World Mabelle Carvajal Member, Donor, and Visitor Experiences Coordinator Another way you can support us is by purchasing a membership, donating, and shopping with us! The Bookstore at The Whyte is Banff’s only locally owned bookstore, offering a curated selection of local guidebooks, Rocky Mountain history, art books, children’s titles, fiction, and ecology. Discover books by Indigenous, Métis, and Bow Valley authors, plus a rotating collection of contemporary and heritage-inspired artisan crafts and jewelry from Alberta makers. Perfect for visitors and locals looking for Banff books, gifts, and Rocky Mountain-inspired finds. "Serving as a front-facing connection to our members and donors brings quiet joy. Whether processing a monthly gift or catching up with a long-time supporter in the bookstore, I have the privilege of witnessing the passion that fuels support for The Whyte’s artistic and cultural vision. Every conversation, contribution, and tax receipt reminds me that many people share a belief in the power of art and storytelling. As a steward for our donors’ generosity, I am deeply grateful to the individuals, foundations, and organizations whose support makes The Whyte’s mission possible. I take great pride in knowing that together, we are building and sustaining this important gathering place for our mountain community." – Mabelle Carvajal Your gifts directly empower our staff to preserve, educate, and inspire every day. If you would like to make a special gift to support our work, please reach out to Fund Development Manager Lachlan Mackintosh at LMackintosh@Whyte.org. He would love to hear from you! To learn more about the many ways donor support makes a difference at The Whyte, follow us on social media and keep an eye on The Cairn for updates on our collections, exhibitions, programs, and stories from behind the scenes. The museum is open daily from 10 a.m. to 5 p.m. at 111 Bear Street, Banff, AB. We invite you to visit, become a member, make a gift, become a member, or simply stay connected as we continue caring for art, stories, and cultural memory. Back to The Cairn