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THE CAIRN News about Canadian Rockies’ art, history and culture and the activities and history of the Whyte Museum of the Canadian Rockies.​ In the fall of 1976, the Whyte Museum published the first print version (click to view) of The Cairn newsletter to share what was going on at the Museum with the community. In that issue, Catharine Robb Whyte wrote in her greeting, “Pete and I always felt it was a way of telling our friends what is going on here and encouraging us all to work together.” In 2018, the 50th anniversary of the Whyte Museum, the print version of The Cairn ended and the monthly digital version began. All issues, print and digital, are below. Click on the covers to view. To receive the digital version of The Cairn by email subscribe to our E-newsletter, using the form at the bottom of this page . The Cairn — Digital Edition, from October 2018 The Cairn - Spring 2024 The Cairn - Winter 2024 The Cairn - Fall 2023 The Cairn - Summer 2023 The Cairn - Spring 2023 The Cairn - Winter 2023 The Cairn Fall 2022 The Cairn - Summer 2022 The Cairn - April 2022 The Cairn - January 2022 The Cairn - November 2021 The Cairn - September 2021 The Cairn - July 2021 The Cairn - May 2021 The Cairn - March 2021 The Cairn - January 2021 The Cairn - September/October 2020 The Cairn - August 2020 The Cairn - July 2020 The Cairn - June 2020 The Cairn - May 2020 The Cairn - March/April 2020 The Cairn - February 2020 The Cairn - January 2020 The Cairn_December_2019_Vol 2_Iss 12.jpg The Cairn — Print Edition, from Fall 1976 to Summer 2018 Click to view issues from the 1970s , 1980s , 1990s , 2000s and 2010s . 114_cairn_spring_summer_2018_front.jpg 113_cairn_fall_winter_2017_2018_front.jp 112_cairn_spring_summer_2017_front.jpg 111_cairn_fall_winter_2016_2017_front.jp 110_cairn_spring_summer_2016_front.jpg 109_cairn_fall_winter_2015_2016_front.jp 108_cairn_spring_summer_2015_front.jpg 107_cairn_fall_winter_2014_2015_front.jp 106_cairn_spring_summer_2014_front.jpg 105_cairn_fall_winter_2013_2014_front.jp 104_cairn_spring_summer_2013_front.jpg 103_cairn_fall_winter_2012_2013_front.jp 102_cairn_spring_summer_2012_front.jpg 101_cairn_fall_winter_2011_2012_front.jp 100_cairn_spring_summer_2011_front.jpg 099_cairn_fall_winter_2010_2011_front.jpg 098_cairn_spring_summer_2010_front.jpg 097_cairn_fall_winter_2009_2010_front.jpg 096_cairn_spring_summer_2009_front.jpg 095_cairn_fall_winter_2008_front.jpg 094_cairn_spring_summer_2008_front.jpg 093_cairn_fall_winter_2007_2008_front.jpg 092_cairn_spring_summer_2007_front.jpg 091_cairn_fall_winter_2006_2007_front.jpg 090_cairn_spring_summer_2006_front.jpg 2000s 2010s 1990s 1980s 1970s Footer

Great Additions to the Art Collection! Back to The Cairn The Whyte Museum’s art collection has been strengthened by the generous donation of several works that compliment our holdings and expand appreciation for artists who have worked in this area. We are very grateful to Robyn L. Fulton for loaning a painting by Edward Roper for the exhibition Drawn to the West , and for recently donating the painting to the Whyte as part of its permanent collection. She will also be donating two other significant works in 2021: THOMAS MOWER MARTIN, R. C. A. (1838 – 1934, CANADIAN) The Sawback Mountains near Banff C. 1900 watercolour CHARLES JONES (C. J.) WAY, (1835 – 1919, CANADIAN) The Fraser River at Yale, B. C. c.1900 watercolour EDWARD ROPER (1883 – 1909, BRITISH) Revelstoke 1887 Oil on canvas The painting Revelstoke extends the vision of the mountains westward and reflect the influence of the Canadian Pacific Railway in encouraging art of this region. It is a beautiful oil on canvas painted in 1887 by Edward Roper (1833 – 1909), an English painter, and illustrator who spent several months in British Columbia in 1887. Roper documented and illustrated his experiences in a book By Track and Trail Through Canada . The Whyte is fortunate in having an original edition of this 1891 book. It makes for lively reading. The train was stopped near Revelstoke for several hours, and Roper commented: “...the most forlorn-looking collection of shacks and shanties, rotten tents, and booths of boughs and mud, we ever saw, planted on swampy ground, with stagnant water, black and fetid pools. Rank growths of skunk cabbages..." Despite his impressions, Roper has eloquently captured the first stages of a growing mountain community. Other important additions to the art collection last year include: Author Katherine Govier has kindly donated a portfolio of 17 drawings by Dennis Burton (1933 –2013), one of which is in the book of poetry, Henry Kelsey , by Jon Whyte. Burton was a leading figure in the contemporary Canadian art scene in the 1970s, and taught at the Ontario College of Art, the New School of Art, the Banff School of Fine Arts, and the University of Lethbridge. Joyce Davenall Turner estate donated 13 assorted works by John Davenall Turner, the founder, owner and manager of the first art gallery in Calgary, Canadian Art Galleries. Turner was also highly regarded as an oil painter of impressionist landscapes. The Art Collection of the Whyte Museum The Whyte Museum's art collection embodies the artistic spirit and vision of our founders Peter and Catharine. The collection includes over 10,000 items spanning the early 1800s to the present day. Featured are drawings, paintings, prints, and sculptures by celebrated local, regional, national, and international artists who have been captivated by the local landscapes. The heart of the collection has over 2600 catalogued works by Peter and Catharine Whyte and represent their lifetime work. The childhood artistic attempts of Peter and Catharine, through their academic training at the School of the Museum of Fine Arts in Boston, inform the work they created as adult practicing artists. The collection also includes paintings by the Canadian Pacific Railway era artists, the Group of Seven, summer art instructors such as Walter Phillips, H. G. Glyde, Holly Middleton, and Takao Tanabe. American painters Carl Rungius, Belmore Browne, Frederick Bosley, and Aldro Hibbard are well represented. The work of local artists Charlie Beil, Jimmy Simpson, Dan Hudson, Michael Cameron, and Karen Maiolo hang harmoniously with numerous others artists from different parts of the globe. The Whyte collection has grown thoughtfully with selective purchases and generous donations. Acquisitions involve appraisals, review, condition reporting, insurance, storage, and ongoing conservation. We don’t have the space or resources to take everything that is offered, and a careful review is done of each piece. Factors such as the significance of the subject and artist to the area, enhancement to the existing collection, quality and condition of the work, and potential for future exhibitions are considered. Back to The Cairn

Connecting with Nature Through New Exhibitions Back to The Cairn Last weekend brought a special kind of excitement that we haven't experienced in a while - an excitement that can only be felt while coming together with community. On Saturday, January 22nd, the Whyte Museum of the Canadian Rockies hosted the first live Exhibition Opening since 2020. Five new installations featuring diverse artists, mediums, and topics were celebrated and explored. Working within the ever-evolving COVID-19 realities, this full-day weekend event allowed time and space for visitors to take in the exhibit, while still having the opportunity to meet and learn from the artists. Donna Livingstone, CEO of the Whyte Museum, welcomed visitors with words about the importance of connecting with nature. "I believe that artists are the cultural and environmental first responders," she said. "They are the ones who notice change in the world around them and their insight – funny, poignant, angry or just plain beautiful – give us an opening into difficult conversations. All of the artists in these five exhibitions are environmental first responders. This is a theme that isn’t accidental." As you explore these exhibitions, we hope they offer opportunities to reflect on what nature means to you, and how we can best use our place in nature for a better future. Collage 1 Exhibition Information Rockies Repeat: Chasing Beauty in a Disappearing Landscape Main Gallery January – April 2022 Image 1 Rockies Repeat: Chasing Beauty in a Disappearing Landscape is a multimedia exhibition that grapples with the cultural impacts of climate change in the Canadian Rockies. This diverse collection juxtaposes the landscapes of Catharine Robb Whyte with fresh interpretations by six contemporary artists. Familiar places are captured and exhibited alongside Catharine’s earlier paintings. For two years, a team of Indigenous and settler artists trekked into the mountains to the exact places Catharine painted en plein air nearly a century ago. Like Robb Whyte, the artists were confronted by the whims of nature but unlike her experience, these present-day artists endured record-breaking temperatures, horizons obscured by wildfire smoke, and backdrops besieged by climate change. Catharine’s scenes of majestic peaks, dense glaciers, and lush thriving forests seem incongruous aside the recent artistic content. ​​ Part of the exhibition experience is Rockies Repeat , a story captured in a short documentary that is a meditation about human connections to disappearing landscapes. The film explores the enduring legacy of Catharine Robb Whyte, the importance of sustaining traditions on ancestral lands, and the impact of a changing climate on our sense of place. Organizer Caroline Hedin asserted: “I hope this collection reminds you of how central the glacial landscape of the Rockies is to our identity as mountain people, yet how fragile its future remains in the face of climate change." The exhibition is part of the Alberta Exposure Photography festival. Iconic Rockies: The Photography of John E. Marriott Main Gallery January – April 2022 Image 2 The exhibition features images that have defined the impressive career of one of Canada's most recognized professional wildlife photographers, Canmore resident John E. Marriott. Marriott is known globally for his spectacular imagery from across Canada. It is Marriott's iconic wildlife encounters close to home in the Canadian Rockies that have often resonated the most with his fans and followers. A magical run-in with Canada's most famous wolf, Delinda; a late-night brush with the legendary grizzly bear The Boss; a two- day meeting with a mother cougar and her kitten; and a blizzard-induced encounter with a fluffed-up raven. Marriott’s successful career has resulted in magazine covers, bus wraps, billboards, and the publication of numerous books. As well as being a Canon Ambassador, Marriott received special recognition from the international Wildlife Photographer of the Year competition. In addition to these accolades, he is an Associate Fellow with the International League of Conservation Photographers and the co-founder of the Exposed Wildlife Conservancy. Elise Findlay: Under the Mountain's Shadow Main Hallway January - April 2022 Image 3 The installation Under the Mountain’s Shadow explores and brings awareness to the challenges that face residents and visitors in resort towns. The beauty of the place and the "Peter Pan" attitude towards life in a resort town has a shadow—a darker side that results in increased rates of sexualized violence, domestic and intimate partner violence, as well as challenges with addictions and mental health. These issues are even more challenging because along with the high turnover of people and the younger population, most business and employers in resort towns rely on the tourist industry and its accompanying image of pristine natural beauty—leaving little space to acknowledge, discuss, or improve. The triptych and installation, depicting a semi-abstract landscape of the town of Banff, is built up of trash collected from around the townsite, printed statistics, and comments from an informal survey and research conducted during the project. The trash reflects the less picturesque as well as the disappointing behaviour of visitors and locals alike in the National Park. While the statistics from the survey which address sexualized violence, domestic and intimate partner violence, addictions, and mental health are not perhaps surprising given provincial statistics, they are hard to face as a community. Yet, there is hope to be found in the Bow Valley. With shifts in attitudes, new programs to educate and support the community, and an increasing willingness to talk, the shadow that hangs over this beautiful place many of us love is shifting into the light. Under the Mountain’s Shadow expresses both the darkness and the light and is part of a larger ongoing community-building project. Michael Corner: What I Did Last Summer Philippe Delesalle stairway October 26, 2021 – April 4, 2022 Image 4 With Covid-19 imposing restrictions and interrupting routines, the Whyte Museum launched a trial artist-in-residency invitation to local artist Michael Corner to spend the summer working out of the Mather Cabin. Located on the Whyte Museum property, the cabin is noticeable for its whitewashed exterior. Once part of the boathouse operation located across the Bow River, the Mather Cabin was situated close to where the new Nancy Pauw pedestrian bridge will span. During Corner’s first few days in the cabin, nightmarish spiders and bygone anecdotes unsettled the artist but he soon settled into a rhythmic pattern of painting subjects familiar in his practice. Corner’s paintings of exterior views capture elements of both the Whyte home, Sinclair and Peyto cabins with pathways through the wooded lawn taking the viewer farther afield. The human figure features predominantly in his interior scenes, making the cabin space appear larger than its minimal dimensions. Finally, Corner’s paintings of figures submerged in black represent a historic event when the river overflowed its banks and flooded the space. Learn more about Corner's experience creating in the Mather cabin. From the Collection: The Photography of Edward Burtynsky Main Gallery January 21 – April 4, 2022 Image 5 Edward Burtynsky was born of Ukrainian heritage in St. Catharines, Ontario. From the mid- 1970s to early 1980s, Burtynsky formally studied graphic arts and photography obtaining a diploma in graphic arts from Niagara College in Welland, Ontario, in 1976, and later a BAA in Photographic Arts (Media Studies Program) from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982. Burtynsky's most famous photographs are sweeping views of landscapes altered by industry: mine tailings, quarries, scrap piles. The grand, awe-inspiring beauty of his images is often in tension with the compromised environments they depict. Vast human-altered landscapes expose the astounding scale of infrastructure and destruction fuelled by enterprise and consumption. Burtynsky’s early influences include Ansel Adams, Edward Weston, Eadweard Muybridge, and Carleton Watkins, whose prints he saw at the Metropolitan Museum of Art in the early 1980s. Another group whose body of work shares similar themes and photographic approaches to Burtynsky's work are the photographers who were involved in the exhibition New Topographics: Photographs of a Man-Altered Landscape . Curated by William Jenkins at the International Museum of Photography at the George Eastman House (Rochester, New York), the October 1974 exhibition epitomized a key moment in American landscape photography. In the publication Oil Culture published in print in 2014 and online in 2015, Catherine Zuromskis’s essay Petroaesthetics and Landscape Photography New Topographics, Edward Burtynsky, and the Culture of Peak Oil (Part IV, Chapter 15) examines both the aforementioned 1975 exhibition and a 2009 traveling exhibition of Edward Burtynsky’s photographs of oil landscapes, entitled Burtynsky: Oil . As promoted by the Minnesota Scholarship Online, “the two exhibitions explore the quiet resonances of unease and anxiety that structure contemporary landscape photographers’ visions of petro modernity. It considers what landscape photography does to frame both the oil industry and the pervasive petro culture it supports on both a political and an affective level.” Most of Burtynsky's pre-2007 exhibited photography was taken with a large-format field camera on large 4x5-inch sheet film and developed into high-resolution, large-dimension prints of various sizes and editions ranging from 18 x 22 inches to 60 x 80 inches. He often positions himself at high-vantage points over the landscape using elevated platforms, the natural topography, and more currently helicopters and fixed-wing aircraft. Over time, Burtynsky has received numerous awards such as becoming an officer of the Order of Canada’s Officer in 2006; honorary doctorates from Mt. Allison University, Queens University, Ryerson University, and Boston’s Montserrat College of Art. He is a member of the Royal Canadian Academy of Arts and the recipient of the Geological Society of America Presidents award. Recently the World Photography Organization announced Burtynsky as the Outstanding Contribution to Photography recipient of the Sony World Photography Awards 2022 held at Somerset House, London. Burtynsky is the 15th photographer to receive this prestigious and rare international honour. Burtynsky’s photography is held in over 60 major museums around the world including the Whyte Museum, whose holding includes 36 works dating from 1983 to 2012. The exhibition features an overview of the Burtynsky collection. Images: Gallery 1: All photos by D.L. Cameron at the Exhibition Opening at the Whyte Museum of the Canadian Rockies, January 22nd, 2022. Image 1: Kerry Langlois, Smoke Show, Lake McArthur , 48 " x 48", Acrylic on cradled birch panel, Collection of the Artist, courtesy of Canada House Gallery. Image 2: John E. Marriott, Raven , Collection of the Artist. Image 3: Elise Findlay, Under the Mountain's Shadow , Mix medium, acrylic paint, and Banff pathway and street garbage, 2021. Image 4: Michael Corner, Two figures no. 4 , Oil on board, 2021. Image 5: Edward Burtynsky, Alberta Oil Sands #6 , photograph on board, 2007. Back to The Cairn

Mountains in the Archives Back to The Cairn By Courtney Maxwell-Alves, Development Associate What do mountains mean to you? Everyone’s answer will be different. For me, they represent magic, wonder, and history, they make me confront my crippling fear of heights, and they bring a level of unparalleled peace and serenity found nowhere else. Everyone who moves to the Canadian Rocky Mountains has a story, and I am positive that mountains play an important character. When I first moved here, I remember trying desperately to get to know the mountains around me: their names, their trails, their significance, their history. I wore my success as a badge of honour that named me a local. Using archival photographs from the collections in the Archives of the Whyte Museum of the Canadian Rockies, I will highlight three mountains that first took my breath away. Like us, each one has their own story and together we make up the mountain culture and human history of the Canadian Rockies. I do not include Indigenous place names in this article. This is not something I missed or didn’t think about: due to the various names these mountains have and the difficulty I had finding information, I didn’t want to presume the information I found was correct. I would like to acknowledge this here and state that the names below are not the only names these mountains are referred to, and in fact, they are examples of land features that were renamed when settlers arrived in the area. This is important and should not be overlooked. Although they are not included here, I encourage further reading about Indigenous place names in Canada and in general . Cascade Mountain Arguably no other mountain or scenic view is more associated with the Town of Banff than the image of Cascade Mountain from Banff Avenue. This isn’t by accident. To highlight the majestic view of Cascade Mountain, early town planners surveyed and planned the town to align with it. Since then, images of Cascade and Banff Avenue have been used as postcards and fill tourist photo albums, now in the form of selfies and Instagram. Cascade, part of the Vermilion Range, serves as a geographical landmark and is well known to locals and tourists alike, particularly for photo opportunities but also for hiking and climbing. Originally named for the waterfalls that are found on it, Cascade was later renamed by Sir James Hector the geologist for the Palliser Expedition in 1858, and was officially added to Canada’s Geographical Names Database in 1956. Standing at 2998 metres (9,836 feet), Cascade Mountain stands sentinel over the townsite and if you travel west on the Trans-Canada Highway, Cascade silently welcomes you to Banff National Park and the Canadian Rocky Mountains. Charles Leroy and first milk cow in Banff , 1888, Whyte Museum of the Canadian Rockies, Pat Brewster fonds (V91/447/na66-1796) Mr. Fisher, Bicycle, Sept. 1956 , Bruno Engler/photographer, Whyte Museum of the Canadian Rockies Bruno Engler fonds (V190/I/A/ii/2/na-24) Sulphur Mountain Named for the sulphur hot springs located at the base of the mountain, Sulphur Mountain, officially added to Canada’s Geographical Names Database in 1956, stands at 2450 metres (8,041 feet) overlooking the Town of Banff, opposite Cascade Mountain. To highlight Sulphur Mountain I would be remiss if I did not mention Norman Sanson (1862-1949), a naturalist, meteorologist, and museum curator in Banff. In 1903, a meteorological observatory was built on Sulphur Mountain on a designated site selected by Sanson, and from 1903 until 1931, Sanson diligently collected weather records from this site (making one thousand ascents). In 1948, Sanson’s Peak was named in his honour. Another important scientific contribution was the Sulphur Mountain Cosmic Ray Station , which was a research facility at the top of the mountain that was in operation until 1978. Today, Sulphur Mountain is known for the gondola (and hiking trail) that can be taken to the top of the mountain and overlooks the townsite. Playing an important role in scientific research, Sulphur Mountain now plays a central role in Banff tourism, allowing visitors and locals alike to walk the boardwalk, learn, and take in the views. Sulphur Mountain Vermilion Lakes , ca. 1919-1929, Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/II/A/PA-237) 1000th ascent of Sulphur Mountain by Norman Sanson , July 1, 1931, Whyte Museum of the Canadian Rockies, Round family fonds (V547/10/na66-1855) Castle Mountain Moving away from the mountains that directly overlook the Town of Banff, Castle Mountain is by far my favourite mountain in Banff National Park. Standing at 2752 metres, Castle Mountain is located between Banff and Lake Louise. Renamed by Sir James Hector (of the Palliser Expedition) in 1858 for its castle-like appearance, this mountain has witnessed three important events in the Park’s history: In the early 1880s, miners in search of silver flocked to Castle Mountain and set up the now non-existent Silver City . Most left the area once it was apparent there was not as much silver as once thought, except for Joseph Smith who became the “hermit of Silver City” until he was moved into Calgary where he died November 1937. During World War I, the Castle Mountain Internment Camp (1915-1917) was built at the base of the mountain. This internment camp held “enemy aliens,” who were immigrants from the Austro-Hungarian Empire. Primarily from the Ukraine, the prisoners were forced to work on various government projects mainly to improve the surrounding infrastructure. A commemorative plaque and statue now stand at the camp’s location at the base of Castle Mountain. Did you know that Castle Mountain was once officially named Mt. Eisenhower? Neither did I until I processed the Dorothy Wardle fonds and read her documentation of the “ The Castle Mountain Battle .” After World War II, the administration under Prime Minister Mackenzie King renamed Castle Mountain to honour American President Dwight D. Eisenhower’s role in leading the Allied victory. This did not go over well for Banff locals, like Dorothy Wardle, who spoke out in newspapers and continuously petitioned to have the Castle name restored, which finally occurred in the late 1970’s. Castle Mountain was officially renamed and added to Canada’s Geographical Names Database in 1979. Old Silver City Mining Town and Castle Mountain, 18 miles west of Banff , Whyte Museum of the Canadian Rockies, Norman Sanson fonds (V246/16/48/NA66-1989 Castle [Castle Mountain], Byron Harmon/photographer, Whyte Museum of the Canadian Rockies, Byron Harmon fonds (V263/I/A/i/a/NA-4678) Cascade, Sulphur, and Castle Mountains are mere examples of how humans interact with their physical surroundings, and how mountains can play crucial roles in mountain culture and history. Although hiking, climbing, camping, etc, are cornerstone activities to life in Banff, I hope through this article I have managed to encourage you to look at mountains and your environment differently. If you are interested in more photographs and information, or simply want to learn more, please visit our database and check out our collections. Further Reading and Research National Resources Canada : http://www4.rncan.gc.ca/search-place-names/search Canadian First World War Internment Recognition Fund: https://www.internmentcanada.ca/resources-camp-list.cfm Town of Banff: https://banff.ca/492/Norman-Sanson The Canadian Encyclopedia: https://www.thecanadianencyclopedia.ca/en/article/william-lyon-mackenzie-king Encyclopedia Britannica: https://www.britannica.com/biography/Dwight-D-Eisenhower The Canadian Encyclopedia: https://www.thecanadianencyclopedia.ca/en/article/place-names Back to The Cairn

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Friends of the Whyte: Bev and Harman Delyea By Bev and Harman Delyea, Whyte Museum Members Back to the Cairn Our favourite way to connect with nature is hiking where we can stop to see vistas of lakes, woods, and wildflowers. Sitting still and observing nature can be very contemplative and put us in creative states of mind. We are a husband and wife team of artists who have travelled the Canadian Rocky Mountains together for over 50 years. Our first hike in the Bow Valley was to Lake Agnes on our honeymoon in 1969, and we have returned to the area many times. We both became artists after retirement, and as we became more familiar with Catharine and Peter Whyte, we wanted to go to the same locations they went to. With their inspiration, we hiked, sketched, and studied how they interpreted scenes and the colours they used. Back at home, we created our artwork. On the trail, we enjoy the people we talk to—occasionally a solo hiker joins us or we join others on a break. We find similar interests and share enjoyment of where we are. People we meet are happy being on a trail in nature and hiking in fresh air in spectacular settings. There is a trail up nearly every mountain and around every corner on which to be in nature and have artistic inspiration. On the trail or sitting on a bench in town, we think of these as meeting places: most people, like us, do not live in Banff, but love that we can visit any time of year and connect with the land as well as other people. Like us, they want to be here. The Bow Valley environment is inspiring and supportive, and attracts many who are experts in their fields, including visual arts. Visiting the Bow Valley and attending exhibitions and events at the Whyte Museum, we have come to appreciate the opportunities that Catharine envisaged. At times, we visit the Museum Shop for souvenirs for our family. And, when possible, we enjoy a tour of Catharine and Peter’s home next door — seeing their belongings and art has a profound effect on us because they did what we like to do. As the museum moves into the 21st century, supporters all have personal reasons to seek out and enjoy connecting to nature on the trails and discovering the enrichment of history, visual art, and conversations. For us, this yields artistic inspiration; we never know what new art might spring from a stay in the Bow Valley and a visit to the Whyte Museum. Exhibitions in the museum stay with us for many years. We always relish seeing original works by Catharine and Peter Whyte whenever we can, plus other Canadian painters. We’ve also enjoyed themed exhibitions such as Yellowstone to Yukon: The Journey of Wildlife Art (2011) and Out of the Wildfire (2004), as well as many others. From a personal point of view, we have six grandchildren to whom we hope to bestow knowledge of the arts, a deep appreciation of the history of places that were important to us, and of course, opportunities to immerse themselves in pure nature as we have been privileged to do. Images: Image 1 - [Lunch on the rocks, trail to Stanley Glacier], 2017, Personal Collection of Harman and Bev Delyea, Fernie. Image 2 – Delyea, Bev, Salmon Sunset, stained glass mosaic (stained glass on plywood, grouted), 2009 (Fernie). Image 3 – Delyea, Harman, Moiraine Lake, acrylic paint on canvas, 2016, (Fernie). Back to the Cairn

Dispatches from the Moore Home: The Attic By Amie Lalonde, Collections Cataloguer Back to The Cairn The final room! This was the most challenging room that I tackled in the entire Moore Home. This was partially due to the structure of being in a small attic with a sloped ceiling. I added a crucial piece of equipment to my daily curatorial outfit: a bright yellow hard hat to keep me from banging my head on the roof that had only four feet of clearance at its highest point. Another challenge in this room was the lack of space to fully lay out the contents of several steamer trunks that were packed full of objects that ranged from Philip’s Princeton sweaters and academic gowns to beaded moccasins to beaver, lynx, and muskrat pelts. I was able to bring some objects downstairs to work on in the kitchen (my makeshift office for the duration of my time in the Moore home) and laid out foam on the attic floor for the remainder of the objects. Above: My makeshift workspace in the attic. I’m sitting in this picture so you can see how low the ceiling is. Above: Holding spears with my hard hat on. Above: Some of the objects that were in trunks in the attic. On the left are cigar boxes, puttees (long strips of canvas used as leg wraps by soldiers during the world wars). One cigar box held a collection of really interesting pipes (centre). Another trunk held a large assortment of arrows as well as two canvas targets (unused). The trunk that was full of animal pelts was probably the most challenging trunk. One reason for my work in the Moore Home was to go over work that was done in the past and identify objects that needed to be re-housed in order to better conserve them. The furs in this trunk were one such example. Being tightly packed in a trunk was not ideal so the decision was made to bring them into the museum proper to re-house them in our vault. Before they could be moved to the vault however, they first spent two weeks in a freezer to ensure that no lingering pests would be introduced to the museum. After that they were removed from the old trunk trays, wrapped in tissue, and placed in multiple acid-free boxes. These steps will ensure that they stay in the best condition possible for many years. Working in a museum means that I am constantly learning. While cataloguing the objects in the attic I came across two items that led me down a really interesting rabbit hole of new (to me) information. One was a canvas bag ( pictured at right ) and the other was a bug net, both sporting a label that read “Abercrombie and Fitch. New York, U.S.A. Complete Outfits for Explorers”. Like anyone who was a pre-teen and teenager in the mid-2000s, I am very familiar with Abercrombie and Fitch as it exists today. I had no idea, however, that it originated as a sporting goods store that outfitted the likes of Teddy Roosevelt, Amelia Earhart, and Ernest Shackleton on their outdoor adventures. It provided these types of goods from 1892 until the 1970s before transforming into the trendy fashion purveyor that I grew up with. With the attic finished, so too came the end of my time working in the Moore Home. Below is a stack of catalogue records of all the objects that I inventoried or catalogued over my eight months in the home. These paper records used to be the only records that the museum kept but with the technology we have today they exist simply as a backup in case our electronic records are ever lost. And with that, my dispatches from the Moore Home are done! Stay tuned for posts from the next leg of my next project: the home of Peter and Catharine Whyte! Back to The Cairn

Re-building Bridges Within the Cultural Trade Route Back to The Cairn By Dawn Saunders Dahl, Indigenous Program Manager Building Bridges within the Cultural Trade Route provides brave spaces by securing a foundation of community connectedness. Intertwining history with art making and storytelling, this program improves awareness and appreciation for the shared past and future of Indigenous cultures in the Bow Valley. By offering an opportunity to forge new friendships and understanding, this program relies on positive relationship development and building trust. Including Indigenous voices to create projects, we foster opportunities to participate in workshops not only to make a product but to find new ways of understanding. The Building Bridges program develops wise practices that adjust systems of working and communicating to actively demonstrate reconciliation. Fostering continued Indigenous inclusion will ensure the program’s success through engagement with the Indigenous Advisory (compromised of rotating Indigenous community members within Treaty 7 and beyond). These perspectives enhance the Whyte Museum’s programs, exhibitions, operations, and governance, key for the Whyte Museum to respond to the Truth and Reconciliation Commission of Canada’s (TRC) Calls to Action. Dawn is the Indigenous program manager for the Whyte Museum and is a practicing artist. She attended Red Deer College (RDC) and University of the Arts (formerly ACAD in Calgary). One of her mentors, RDC ceramic/drawing instructor Chuck Wissinger passed away last month. He was instrumental in developing who she is as an artist, an arts administrator, and a person. He created and coordinated the Summer Artist Residency program at RDC and Dawn was lucky that he provided the opportunities for her to attend, to interact with amazing artists from around the world. These kinds of opportunities are what she strives to continue to create for the Bow Valley. When Dawn was told of his passing, she felt incredibly lucky that she was with the students at Chiniki College creating murals, continuing to share with artists. This article is a synopsis of the events from the past five months, highlighting the workshops and events that have taken place both in Morley, Canmore, and Banff. Nakoda History Talk with Nakoda Historian Lloyd Buddy Wesley Stoney Nakoda historian Buddy Wesley kickstarted the Building the Cultural Trade Route program with his talk in January about the community and culture of Stoney Nakoda First Nations. Buddy included images provided from the Whyte Museum Archives and spoke of the different types of tipis, what they were used for as well as described clothing and regalia worn, and what is worn today. He spoke of the importance of the Nakoda language and his interest to mentor Nakoda youth to teach the language, as well as his reconciliation efforts to provide basic language classes to Bow Valley residents. His talk highlighted the importance of continued relationship building between Indigenous and settlers to move forward, promote empathy, and break down perceptions. International Mountain Day Dinner and Conversation On January 29, the Town of Banff and the Whyte Museum hosted an evening of Indigenous food, cultural learning and discussion with Stoney Nakoda, Tsuu T’ina, Ktunaxa youth, community members and Elders to learn about the history of Indigenous Culture, specifically in Banff. This event was held in response to the Banff Canmore Community Foundation Vital Signs 2018 Report findings. One in three respondents wanted more cross-cultural learning, to improve knowledge, and understanding between community members and Indigenous peoples as a priority. Feedback on the assessment from Indigenous community members indicated how important it is to include Indigenous voices in any community decision making. “For over 10,000 years Indigenous peoples have lived and travelled through this valley, including the Stoney Nakoda, Ktunaxa, TsuuT’ina, Kainai, Piikani and Siksika... In the face of climate change, habitat loss, economic uncertainty and social challenges, how do we keep this Bow Valley – our home and our community – a special place that is vibrant and resilient, not only for us, but for future generations?” The panel discussion implemented how to include Indigenous wise practices within various decision making levels in Banff. Lead by Daryl Kootenay and Ariel Waskewitch, the discussion focused on how to apply Indigenous culture and knowledge within the various decision-making levels in the mountain town site of Banff. Topics discussed during the discussion included: The history of Indigenous peoples in Banff and the importance of their sense of place. The relationship of Indigenous peoples with the ecosystem of the mountain park – learning about the interrelationship between people, animals, plants, mother earth, spiritual ceremonies, and the beliefs of ecological balance. The history of Indigenous relationship to food such as hunting and gathering in the mountains. How Indigenous people would like to be included in local decision making. It was a free, sold-out event that highlighted the different perspectives approaches to the four topics listed above. Reference materials and further readings were provided by the Whyte Museum and the Banff Library. We will strive to continue to provide platforms for these conversations to continue, as it was expressed that this was the start of re-building relationships. Basket making and Eco Dying Workshops with Ktunaxa artist Lillian Rose Lillian Rose, artist from the Ktunaxa First Nation in Windermere, British Columbia hosted a beginner basket making workshop at the Whyte Museum, where local Banff participants learned basic basket making skills using cedar strips. Although the process required more time to complete the activity, basket makers were introduced to Lillian and had the opportunity to talk to her about where and how she harvests her supplies. Lillian provided an eco dying workshop to Chiniki College students where the students were shown different materials and methods that could be used to create a base for drawings, cloth, books, postcards and cards. She discussed different times of year to harvest materials, how the materials can create different results and materials she used to create the baths for the eco-dying process. Portrait and Landscape Painting with artist Dawn Saunders Dahl Whyte Museum Indigenous Program Manager, Dawn Saunders Dahl provided portrait and landscape workshops to Chiniki College students, offering an opportunity to get to know the students and to find out what they are interested in knowing more about. She also discovered that a number of students would like to also provide workshops to Bow Valley residents and would like to discover how to develop their own workshops. She is currently developing templates to provide to the students. Mural Workshops with Street Artist AJA Louden, Edmonton In February, Mural artist AJA Louden provided a five day workshop to create a mural for the Town of Canmore Art and Events Art Walk in the Woods project. The title of the piece is: dagunenâ ktûtha giya which translated means “everything happens on the fourth time around!”. The installation was designed, constructed and painted by Stoney Nakoda students of Chiniki College with support from guest artist AJA Louden. Chiniki knowledge keeper Lloyd (Buddy) Wesley, helped guide the concept and the inclusion of the Stoney Nakoda language in the artwork. Each face of the mural cube represents a season in Treaty 7 territory - the Stoney Nakoda language name for the corresponding season is at the top of each side of the cube, and the faces of the cube face in the four cardinal directions. Each face of the cube shows a hand, based on the hands of students at the college, performing an activity related to the season. Goals of the project included helping build the capacity to create murals by Stoney Nakoda artists in Treaty 7 territory, and to connect communities through public art. The mural was first installed at Chiniki College, then taken apart and re-installed in Canmore. The artwork will be up until mid- April on the Legacy Trail leading to the Nordic Centre and will move to different locations within the Bow Valley. Students expressed an interest in creating more boxes and murals. Artists and assistants: Kyle Kaquitts Vera Kaquitts Katie Rider Zeke Omesasoo Amanda Twoyoungman Jarron Poucette Blair Simeon Alison Smalleyes Tiana Labelle Martin Kaquitts Tyren Twoyoungman Renneta Simeon Lewis Kootenay Sally Twoyoungman Denise Kaquitts Kristan Rider Zerlina Omesasoo Clark Labelle A special thanks to Lorna Rye and Nicky Pacas. Minnesota Historical Society Talk, Artist Talk and Mocassin Making Workshops with Ojibway Artist Sarah Howes In March the Whyte Museum hosted an artist talk with Benjamin Gessner from the Minnesota Historical Society (MHS) and Ojibway artist Sarah Agaton Howes. Benjamin Gessner presented information about the Minnesota Historical Society, his role and the Native American Artist in residence program. Ben works most closely with American Indian material culture (roughly 5,000 artifacts) and the Fine Art collections (roughly 6000 items). He has initiated numerous collections-based outreach projects in Dakota communities in Minnesota, South Dakota, and Nebraska, which have included bringing historical material culture to communities, as well as hosting workshops for community members to digitize family photographs and documents and conduct genealogical research. It was a pleasure to hear more about the program, see images of past recipients and gain an understanding about their challenges and successes with the program. Learn more about the program here . Sarah shared her experiences as the 2018-19 Native American Artist in Residence at the Minnesota Historical Society Museum. She provided information about creating the book Grandmothers Gift Nookomis Obagijigan and presented examples of her art and projects. Sarah is an experienced teacher with a foundation in anti-racism and community-based social change work. Sarah frequently shares her knowledge and experience with bead work, making moccasins and creating regalia in her community and beyond. Sarah is also a published poet and spoken word performer. Sarah brought her apprentice Chally Topping to assist with teaching the moccasin workshops and taught workshops at the Whyte Museum and Chiniki College. Participants learned about different moccasin styles and students at the college have been inspired to create their own books, designs and gained confidence to also teach. Sarah, Chally and Dawn were invited by the students to attend the Round Dance in Morley while they were here. Sarah and Chally met the community, danced and shared wild rice picked in Minnesota with organizers. Here are a few participants reflections about what they learned what they thought of the workshops: “I think it’s good to see what is out there to learn different things and have the community come out. A lot of people do not really know about these programs or the history of Stoney Nakoda. It is good to bring back the history so the younger Nakoda and non-Indigenous generations will know to know why are we here. It’s an opportunity for reconciliation and get a step ahead to gain skills to teach.” - Kyle Kaquitts, Chiniki College Student “We gained insight into all materials and processes from an Indigenous perspective - harvesting cedar, tanning and cutting the hide, processing what is needed to complete the task at hand, working independently together. Over the course of the workshops, I saw many people watching, helping, and guiding each other, exercising patience, and asking questions while learning new things at staggered rates. My partner also attended the moccasin making workshop and he said he "learned that he could make a pair of moccasins in five hours, having never stitched leather before." Our moccasins aren't perfect, but they fit our feet beautifully! That kind of experiential and functional learning is very empowering.” - Stephanie Hamilton, Whyte Museum Staff Member, Banff The Building Bridges Cultural Trade Route program will reinvigorate, reclaim and re-establish new bonds that have not been accessible within the last 40 years in the Bow Valley. Participants will have the opportunity to breakdown barriers and perceptions of each other through the sharing of collective art making experiences, conversations, and through the respectful building of friendships. We will also strive to reclaim spaces by providing outdoor and indoor classrooms throughout the Bow Valley for future generations, where learnings about the land can take place. Stay tuned to find out about upcoming workshops, events and films! Back to The Cairn

File name: fonds: Title: Date: D escription: v439_pa_242 Moore family fonds Pearl Moore and Runt [Philip Moore] on Paliser trip [ca. 191?] Washing dishes in camp.

Marlene Kelly Generations - My Story Artists Statement GENERATIONS - MY STORY Tansi, I am 4th generation Cree-Metis beadwork artist. My ancestral home is Ft. Chipewyan & Ft. MacMurray AB. I am privileged to live in the unceded territory of the K’omoks First Nation. As I sat drawing the design for my pandemic mask, I took comfort in the ease the pattern formed from my mind’s eye to paper. The flowers, the curves of the vines, the shapes of the leaves, every colour I saw transformed with a familiarity of generational knowledge. These are the patterns that my nikâwiy, nokôm and okômâw used and were now passed down to me. As I started beading, thoughts of convenience, even during this pandemic, floated through my mind. Thoughts of the struggles and hardships of the strong women who came before me. Women who persevered and survived with a lot less than I am blessed with today. Thoughts of the Dr’s orders to keep my 87 year old mom safe inside because she won’t survive this Coronavirus. I will protect her fiercely, lovingly, diligently, patiently until her last breath. One day I will be the matriarch in my family... but not today. Beading this mask connected me to these strong women. It awakened my soul memory, reminding me that I have the gifts, knowledge and resilience to overcome just as they did but with a lot more conveniences and resources. Mask: tanned deer hide, cotton bandana Ties: silk & elastic paracord, rabbit fur pom poms Beadwork: s11 silver-lined / frosted /metallic / opaque / neon czech glass seed beads, s15 charlottes, s6 glass transparent beads, 11mm multi coloured crystal teardrop beads Thread: size D white Nymo, 8lb smoke fireline, 6lb crystal fireline Return

File name: fonds: Title: Date: D escription: v692_pa_133a_101 Peter and Catharine Whyte Foundation fonds Moving of Pearl Moore house from Banff Avenue to site next to Archives 1971 Ron Duke, Photographer

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