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File name: fonds: Title: Date: D escription: v439_pa_182 Moore family fonds Pearl Irvine Brewster. March 1892. Two years old. 1892

A Life on Film: The Completion of the Bruno Engler Collection Back to the Cairn By Kate Riordon, Collections Processor & Digital Technician For the past year and a half, I’ve had the pleasure of working on a truly massive collection of prints, negatives, slides, and motion pictures bequeathed to the Whyte Museum Archives by Bruno Engler at the time of his death in 2001. Spanning nearly 60 years of his life and amounting to almost 5,000 database entries, the Bruno Engler collection is a treasure trove of wildlife, mountaineering, skiing, rescue, climbing, and Hollywood content – just to name a few. This part of his collection that I got to work on – what we dubbed the “Retained File” – pertained to the work Bruno held on to after two initial donations/purchases acquired by the Archives in the 1980s and 90s. Beautifully alphabetized (for my convenience) in old photo paper boxes with hand-written labels, it was just a matter of taking out the contents of each box, numbering them, digitizing select images, rehousing them in acid-free folders, storing them in the vault, and making detailed database entries. Easy. All said and done, Bruno’s Retained File amounted to 281 database entries containing 9,203 print photographs, 11,096 negatives, 156 transparencies, and 14,981 feet of motion picture films. I counted. Some of my favourite topics to work on were the Parks Canada Wardens and, of course, the movie prints. Bruno was a highly skilled skier, ski instructor, and guide and often accompanied Parks Canada Wardens and Wardens-in-training on climbing courses, helicopter rescue missions, and avalanche control operations (aka: dropping charged explosives out of helicopters or firing very large guns at the mountain). It was a treat coming across photos of people I’d read about in Sid Marty’s books and, since a lot of Wardens in the 60s and 70s were also members of the Association of Canadian Mountain Guides ( ACMG .), Chic Scott was an invaluable resource when it came to identification. Gallery 1 The pièce de résistance though were the shots from all the movies Bruno worked on. As an experienced mountain man, his role on some productions amounted to making sure the cast and crew got to remote shooting locations without incident. But he also often served as the on-set photographer – snapping shots of cast and crew from behind the scenes. Gallery 2 I learned a lot about 1970s direct-to-home-video movies and spent several weeks lamenting how hard these titles are to find on modern streaming services. The shots of downtown Banff during the 70s and 80s that featured in a few of these movies were some of my absolute favourites! A period of time we don’t have as much on in the Archives, it’s always a treat to explore the shops, ogle the cars, and wonder at the tightness of people’s pants. Big projects like this one feel daunting when you’re in the middle of them, but now that I’ve finished I find myself missing Bruno. At least we know exactly where to find him. Interested in learning more about Canadian Rockies history? Book a research appointment at the Whyte Museum Archives and Special Collections Library . Images: Image 1: [Bruno Engler], 1980, (V190 / VI / P / vii / PA – 19 detail) Image 2: [Helicopter rescue mission], [ca. 1985], (V190 / VI / L / v / PA – 46) Image 3: [Sketching a curious deer through the window], [ca. 1960], (V190 / VI / A / iii / PA – 02) Image 4: [Unidentified skiers at Sunshine], [ca. 1945-1955], (V190 / VI / H / iv / b / NS – 01 / 04) Image 5: Stacked empty photo paper boxes used by Bruno Engler, 2023, photo by the author Image 6: [Rimrock Hotel], [ca. 1960], (V190 / VI / B / vii / PA – 39) Image 7: [Helicopter fighting a wildfire], 1971, (V190 / VI / F / ii / PA – 02) Image 8: [Still from B-roll footage for the movie Ski Lift to Death ], 1977, (V190 / VI / A / ii / PA – 33) Image 9: [Rooster statue in Canmore], [ca. 1990], (V190 / VI / L / v / PA – 505) Image 10: [Sight-seeing gondola cars on the North America chair at Norquay], [ca. 1960], (V190 / VI / N / i / NA – 33 / 02) Image 11: [Sausage dog and child at the Maycroft Ski Meet], 1954, (V190 / VI / M / xi / PA – 05) Gallery 1: Image 1: [Association of Canadian Mountain Guides group portrait], 1980-1992, (V190 / VI / A / v / PA – 27) Image 2: [Avalanche gun at Norquay Ski Hill], 1956-1979, (V190 / VI / A / vi / c / PA – 03) Image 3: [Helicopter sling rescue coming in to old Mineral Springs Hospital, 1972, (V190 / VI / B / viii / PA – 19) Image 4: Edward Feuz, 1962, Lake O’Hara, 1962, (V190 / VI / O / v / PA – 05) Image 5: [Monty Rose, Park Warden, during a climbing exercise], [ca. 1970], (V190 / VI / P / ix / PA – 44) Image 6: Platform improvised by Banff Rescue Team, on foot of cliff where victim will be picked up after team lowered victim from mountain cliffs [Climber fractured a leg while climbing Mt. Blaine], [ca. 1960], (V190 / VI / W / i / PA – 43) Image 8: [Still from B-roll footage for the movie Ski Lift to Death ], 1977, (V190 / VI / A / ii / PA – 33) Image 9: [Rooster statue in Canmore], [ca. 1990], (V190 / VI / L / v / PA – 505) Image 10: [Sight-seeing gondola cars on the North America chair at Norquay], [ca. 1960], (V190 / VI / N / i / NA – 33 / 02) Image 11: [Sausage dog and child at the Maycroft Ski Meet], 1954, (V190 / VI / M / xi / PA – 05) Gallery 2: Image 1: [Hans Gmoser and Dustin Hoffman on a shoot in the Bugaboos], [ca. 1961], (V190 / VI / M / x / a / PA – 04) Image 2: Raider Chuck Moody in the film “Across the Great Divide.” Taken around Canmore-Spray Lake & Morely. Sept 1976. Photo Bruno Engler, 1976, (V190 / VI / M / x / a / PA – 119) Image 3: [Behind-the scenes shot of Richard Gere in the movie “Days of Heaven”], 1976, (V190 / VI / M / x / c / PA – 01) Image 4: Double for [Charles] Bronson Tim Auger. “Death Hunt” 1980, (V190 / VI / M / x / d / PA – 02) Image 5: 3 point landing, Spray Lake. “Death Hut” 1980, “This was not in the script,” 1980, (V190 / VI / M / x / d / PA – 14) Image 6: [Mike Farrell, Margo Kidder, Elliott Gould, and Fred Gwynne on the Bow River during the filming of Vanishing Act (aka: Hoax )], 1986, (V190 / VI / M / x / k / PA – 23) Image 7: [Elliott Gould throwing a snowball during the filming of Vanishing Act in Banff], 1986, (V190 / VI / M / x / k / PA – 62) Image 8: [Film crew for Vanishing Act on Banff Avenue], 1986, (V190 / VI / M / x / k / PA – 90) Image 9: [Cast members on horseback during the filming of Across the Great Divide (aka: Mountain Maverick )], 1976, (V190 / VI / M / x / o / PA – 104] Image 10: [John Cusack posed on train tracks during the filming of The Journey of Natty Gann ], 1984, (V190 / VI / M / x / p / NA – 17 / 01) Image 11: [Cast & crew members of Ski Lift to Death on Banff Avenue], 1977, (V190 / VI / M / x / s / NA – 23 / 01) Image 12: [Airborne filming of Ski Lift to Death ], 1977, (V190 / VI / B / ii / PA – 02) Image 13: [Christopher Reeve as Superman holding a child newly rescued from a tree while filming Superman in Calgary], 1977, (V190 / VI / M / x / t / NA – 21 / 01) Image 14: [A fake US Navy missile truck crosses the old train bridge during the filming of Superman III in Canmore], 1982, (V190 / VI / M / x / t / NA – 43 / 01) Image 15: [Christopher Reeve as Superman taking a picture of the crew of Superman III , 1982, (V190 / VI / M / x / t / PA – 17) Image 16: [Kitten helping film Wild Horse Hank ], 1978, (V190 / VI / M / x / x / PA – 383) Image 17: [Linda Blair relaxing on horseback during the filming of Wild Horse Hank ], 1978, (V190 / VI / M / x / x / PA – 392) Back to the Cairn

From Strangers to Storytellers Back to The Cairn In the summer of 1930, newlywed Catharine Robb Whyte arrived in Banff to begin a new chapter of her life. Trading sailing for skiing, she took on the challenge of integrating herself into a lifestyle and community completely unknown to her. However, after spending a lifetime in Banff she had become one of the foremost ambassadors of the history and culture of this area. Ninety years after Catharine first stepped foot here, we arrived in a Banff that was much-changed, but still retained the same alluring essence. Like Catharine, we knew little of the stories these mountains had to offer; but also like Catharine, we were eager to integrate ourselves into our new community, both in and out of the museum. While at the Whyte, we studied hard, familiarizing ourselves with Banff’s history and gaining a better sense of the interconnected stories that make up Banff’s past. Outside in the park, we continued our education, this time through hiking, biking, and visiting other locations such as the Luxton Historic House Museum and the Cave and Basin National Historic Site. Seventeen weeks later, we understood that knowledge and education is more than opening up a book. It’s both researching the experiences of others, and making our own memories. It’s easier to appreciate Peter Whyte’s admiration for Mount Rundle after summiting it yourself. It’s easier to appreciate J. B. Harkin’s conservation work after a close encounter with a grizzly bear. And it’s easier to understand why Catharine fell in love with the Bow Valley, when you’re surveying it from the top of Tunnel Mountain. This knowledge helped us educate visitors to the Museum not only about Banff’s past, but the influence of that past on the present. Our goal as Interpreters is to offer people an understanding of Banff that they will take with them after they leave. For us, knowledge is not a Monday to Friday, nine-to-five activity, and we wanted our visitors to share that experience with us. Whether that was describing a person or place, concept or personal experience, the goal remained the same: to tell stories that visitors will remember in the already unforgettable landscape that is Banff National Park. Thank you for reading! Avril, Aidan, Patrick, Clémence and Jon a.k.a. The Guardians of the Galleries Back to The Cairn

"Ya Ha Tinda: The Ranch" Featured as Whyte Museum's Winter 2024 Exhibition Back to the Cairn On January 26th, 2024, the Whyte Museum of the Canadian Rockies celebrated the opening of two winter exhibitions, Ya Ha Tinda: The Ranch by Arto Djerdjerian and A Natural Solitude by Hans P. Berkout , in celebration of the 2024 Exposure Photography Festival. Both exhibitions explore varied photography styles in outdoor spaces. Both exhibitions will be on display at the Whyte Museum until April 7th, 2024. About the Exhibitions Arto Djerdjerian: Ya Ha Tinda - The Ranch In Ya Ha Tinda: The Ranch , photographer Arto Djerdjerian showcases an intimate view of the everyday lives of those at Ya Ha Tinda, a ranch where horses are wintered and trained for use by Parks Canada wardens in our national mountain parks. Djerdjerian has been photographing life at Canada's only federally owned and operated working horse ranch for six years. His work provides a window to a very special place that has rarely been photographically documented. Gallery 1 By carefully observing the workday routine at the ranch, Djerdjerian captures the ranch's gritty, hard work as well as the magnificent animals and natural beauty. Blue skies and snow-capped peaks offer a stunning backdrop to the tonal variances of the horses. This combination of landscape, horse and history creates a sense of magic in a place apart from our norm. Born in Cairo, Egypt to Armenian parents, Djerdjerian was raised in Montreal where he went on to study photography, practicing seriously since the age of sixteen. Living and working in Alberta since 1977, Djerdjerian is dedicated full-time to his practice as a photographer in Alberta. Arto Djerdjerian is interested in the integration of fine art and photography. He continues to expand his vision and environment photography, from the urban world of New York City to Montreal to the backyard to the wilderness of Alberta to Wyoming. He combines horses, people, mountains, and history in his skillful photographs taken in some of the wildest and untamed places. Hans P. Berkhout: A Natural Solitude A Natural Solitude features the brilliant black-and-white film photography of Hans P. Berkhout, with nature as his subject. These pieces will leave you captivated by the crisp beauty and beautiful process. For Berkhout, photography became a creative release from the stresses of his medical practice, while also inspiring and encouraging fellow medics to engage in the creative process. Berkhout developed a passion for photography from his early days in Holland. He is a self-taught, film-based photographer whose main interest is black-and-white photography. He works with both large format and 35mm film, processed in a conventional wet darkroom. Each photograph displays fine detail and quality, which exemplify the patience and preparation seen in these well-executed images. The art of producing these images in the wet dark room further displays dedication and talent for his craft. Berkhout was introduced to large-format photography by the late Dr. Harry S. Thompson of Calgary. Concentrating his work on nature photography, he also learned from contact over the years with Al Weber, David Vestal, and Joe Englander, whom he assisted during the 2000 and 2001 Workshops West. Since 2014 he has been mentored by Paul Caponigro Galleries: Gallery 1 : Winter 2024 exhibition opening at the Whyte Museum. Photos by Katie Goldie. Back to the Cairn

Recognizing Relations is a community-naming project initiated in 2014 by the Archives & Special Collections department at the Whyte Museum. It was started in order to update the captions and descriptions of our large collection of photographs representing local Indigenous peoples, many taken at the annual event “Banff Indian Days.” Recognizing Relations Recognizing Relations (2014-2022) began as a community naming project, bringing archival photographs of unidentified Indigenous people to local Elders in hopes of identifying those photographed by name. Our goal was to create a collection of photographs that the community could use for education, research or any other projects of interest. We are grateful to all the Elders who took the time to share their knowledge and stories with us. There were many memorable moments of connection made throughout the 9 years of the project and it has been an honour to be part of that. As Recognizing Relations evolved, a relationship building process began and our sharing began to include presentations of archival resources through community events. We moved beyond photographs, and brought materials such as sound recordings, films, newspapers, and other written records to the communities of Mîni Thnî, Eden Valley and Big Horn. [Two children watching Banff Indian Days event]. 1945-1950. Peter and Catharine Whyte fonds. V683 / III / B / NS - 1722. Whyte Museum of the Canadian Rockies. The Recognizing Relations photograph collection holds more than 500 images, and over 75% of the Indigenous people within those images have been named. These images have been used in projects by the Stoney Education Authority, the Stoney AV club, and many others. Within the Archives itself, we have been able to update the information of hundreds of photographs through cross referencing with this key collection. Names, locations, genealogical information and appropriate protocols on language, naming and display have been essential learning for us. Our new initiative Hosting Indigenous Community Relations builds on this momentum, creating access for Indigenous researchers and community members. Facilitators Colleen Crawler (Stoney Nation) and Travis Rider (Stoney Nation) host Indigenous groups in the Archives. Their counsel is also offered to non-Indigenous researchers, as well as staff and administrators within the museum. Recognizing Relations Online Database RR_final_Page_2 RR_final_Page_1 RR_final_Page_2 1/2 Recognizing Relations is supported by

File name: fonds: Title: Date: D escription: v439_pa_239 Moore family fonds Pearl Brewster Moore on Guerney, the horse she taught to walk on its hind legs. [ca. 190?]

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Dagugun Woakide Akide Hnebigan Echin Bathtabich (Studying Museums in a Good Way) Back to the Cairn By A. J. Baptiste, Amanda Foote, Kes Lefthand, Giona Smalleyes, Chey Suwâtâgâ Mû, Aiden Powderface, Amber Twoyoungmen, and Kelsey Twoyoungmen In the fall of 2022, members of the Nakoda AV Club joined Whyte Museum of the Canadian Rockies staff for an introduction to the archives. They were joined by Amanda Foote, a student researcher at the University of Calgary exploring Îethka access to and control of museums and archives. For some, it was their first visit, and others had been before, regardless, all were overwhelmed. “I just couldn’t believe how much they had, and what they had, and how many stories were there,” said A. J. Baptiste. The group was chosen as one of the Lillian Agnes Jones Fellowship recipients for the 2022-2023 year. The AV Club is a collective of storytellers based in Mînîthnî (Morley Reserve); some of the club members are collaborating with Amanda, who is a longtime volunteer for the club, in a project to examine how museums meet the needs and desires of Indigenous people. The project began years ago, with prompts from community members and Elders, and an Alberta Foundation for the Arts funded project that saw members of the club visit Bow Valley museums. The time spent at the Whyte was a step up from previous work because it allowed a deep dive over several months with dedicated support from the institution’s staff. “The archives was pretty grand! I was more used to thinking about the exhibits, but I really learned how much value was in the archives too,” noted Chey Suwâtâgâ Mû. After the initial introduction the group spent four afternoons at the Whyte Museum. The majority of time was spent exploring the content of the archives, but the group also toured the home of founders Peter and Catharine Whyte, and took a look around the museum as well. “We got the chance to visit the collections and we saw the living objects. Finding out that our ancestors made some of the things we visited with was a really important point of connection. The intricate details of the objects were so exciting to notice. we wondered about family designs, stories, and we felt like these were on one pathway we could take to reconnect with our past,” continued Suwâtâgâ Mû. Each of the Nakoda AV Club members who attended the sessions used the time to explore issues of concern to their own arts and storytelling practices. Interests among the group ranged from horse culture to petroglyph design, from beadwork to stories of ghosts and hauntings. “I was reading about how saddles and bridles and how they were used in the past," noted Baptiste. "There was a design on one that I was really interested in because it looked so different than what we used today, but a lot of the things I saw, even though they looked different or sounded different, you could see the ways they are connected through modern tools. The saddles were a lot smaller though." As word of the project spread, the group grew from five members to seven. Eventually siblings and parents also asked to join in. “The Whyte just has so much to learn from, and when we started talking about it, other people wanted to see for themselves and explore their interests in collections too,” said Foote. As Suwâtâgâ Mû notes, although Îethka is an oral culture, having archives as a jumping off point, to explore stories, connect to people, and forge relationships with the land felt useful. This year the group has received funding from the Canadian Roots Exchange (CRE) to conduct a visit with Elders and Knowledge Keepers to part of the Parks system where they hope to harvest traditional items. In the archives they learned that Îethka used to harvest in this way, but that this was disrupted by the establishment of the Parks, the pass system, and economic hardships on their people. By re-asserting their relationships with the land, the group hopes to become more knowledgeable storytellers in their own unique ways. This was an example of both the difficulty of working in the archives, but also its potential; “some days were pretty heavy, and driving home there was often a stretch of time where people were in their own heads, or talking about things that made them feel frustrated.” On the other hand, the experience provided not only information that could be used towards reconnection, just spending time together there was a form of reconnection in itself. “It was amaze’za’zing! I love that there’s so much to research that I’ve never thought I would actually discover, like language and regalia,” noted Giona Smalleyes excitedly. About the Lillian Agnes Jones Fellowship In 2001, the Peter and Catharine Whyte Foundation/Whyte Museum of the Canadian Rockies received a bequest from the estate of Lillian Agnes Jones. From this bequest, a fellowship was created to promote the study and research of materials related to Western Canada. Initially, this fellowship was administered through the University of Calgary. The Whyte Museum began to oversee this fellowship in 2019. The Call for Applications for the 2022-2023 year brought forth a variety of unique and exciting research topics. From the many applicants received, three individuals were chosen by the Lillian Agnes Jones Fellowship Committee. Kate Hanly, from Canmore, Alberta, explored the concept of how iconic mountaineering routes are changing in the Canadian Rockies due to climate change. Keara Lightning Long, from the Edmonton region, delved into the complex relationship of Indigenous ecology and the history of environmental management. Lastly, Amanda Foote, who lives in Mînîthnî facilitated a group of Îethka (Stoney Nakoda) people in hands-on archival, library, and curatorial research on a variety of topics. Want to read the full research reports from each recipient? Please visit whyte.org/fellowship . In the coming months be sure to watch for our upcoming events as these recipients will be presenting on their topics soon! Are you looking to submit and application for an upcoming fellowship call? Stay tuned to our social media and newsletters. Announcement coming soon! Interested in learning more about Canadian Rockies history? Book a research appointment at the Whyte Museum Archives and Special Collections Library . Back to the Cairn

Defining Wilderness: Mapping the Boundaries of Banff National Park By Felix Mayer, Lillian Agnes Jones Fellowship Recipient 2021 Back to the Cairn In the winter of 1883, William Van Horne visited Western Canada and upon first seeing the Bow Valley was immediately impressed by the snow-covered peaks and frozen lakes of the Rocky Mountains. He asked surveyor William Pearce to arrange for the reservation of a park for the area with initial site surveys to begin the following spring, seeking to preserve the beauty of the scenery and to prevent “despoliation by the advances of civilization in the guise of miners and lumbermen.”[1] When spring arrived, however, the valley that had so impressed Van Horne under a heavy blanket of snow proved to be a marshland, an area that was ill-suited for the grand park that he had envisioned, and the site was abandoned. For some time thereafter, visitors that passed through the area mockingly referred to the location as “Van Horne’s Park”.[2] The area that William Van Horne sought to claim and protect from the encroachment of modern civilization, the valley where he had envisioned a “fine house on the island in the lake,” is now the location of the Lafarge Exshaw Cement Plant at Lac Des Arcs.[3] Figure 01 Today, the boundary of Banff National Park has become so integrated into the fabric of the surrounding landscape and infrastructure that it is easy to view it as a barrier that is permanent or unmoving. Since the initial creation Banff Hot Springs Reserve in 1885, however, the territory and boundary of Banff National Park has shifted and evolved multiple times.[4] Far from fixed, it is a line on the map that has been drawn and redrawn, changing the course of the landscapes that it sought to define with each new iteration. The use of mapmaking and boundaries can overlook or oversimply this history and complexity, depicting environments and places as unchanging and presenting a seemingly all-encompassing, objective and unbiased view of a location. All maps, however, contain some degree of abstraction, simplification, and an inevitable bias in their depictions of landscapes. In this sense, mapping and the use of boundaries has the power to not only represent landscapes and territories, but to deeply influence our understandings of a place. Through what maps show, what they omit, and the borderlines that they establish we craft our definitions of place, our legal frameworks, and even how we see ourselves within our environment. Figure 02 The research project that I completed through the Whyte archives and over the course of the Lillian Agnes Jones Fellowship sought to explore this relationship between the park boundary and its surrounding contexts, focusing on the forces and influences that have steered its evolution over time. The project, part of a year-long architecture thesis, sought to understand Canadian cultural attitudes towards wilderness through this history, gaining an understanding of wilderness as an idea through the physical evolution of the National Park. Fundamental to the project where questions of how cultural narratives, industrial interests, political pressures and romanticized ideas of nature might influence the development of the park boundary and park space over time. Figure 03 Early on in the research project, the history of the hydro-industrial developments at Lake Minnewanka and the Spray Lakes Reservoir became key case studies for the project. The establishments of these two developments in the 1900s by the Calgary Power Company would have a direct and significant influence on park policy and the boundary of Banff National Park. In 1912, when the Calgary Power Company constructed the first of these larger hydro-reservoirs at Lake Minnewanka to maximize the power generation of their downstream facilities, the operation was approved by the Parks Department despite the site’s location within the park boundary. Figure 04 The reservoir, which would flood the valley of what was then known as Devil’s Lake was approved and concerns over its potential impacts were dismissed primarily on aesthetic rationales, with one member of the Parks Department stating… That Lake Minnewanka has never been regarded as an outstanding beauty spot is shown by the fact that the C.P.R. have never featured it in their advertising [sic]. The reason is that the mountain lakes in the Rockies which are famous for their beauty, such as Lake Louise, are glacial cirques, while Minnewanka is only a flooded river valley. By clearing these flats and raising the water levels as proposed, they will be submerged, and the general appearance of the lake very materially improved.[5] Figure 05 However, over the course of the Lake Minnewanka development the policy of National Parks began to shift, and hydro-power developments were declared incompatible with the visitor experiences that National Parks sought establish. The raising and lowering of the water table at Lake Minnewanka had visibly begun to alter the landscape, leaving an unattractive, muddy shoreline and an inconsistent visitor experience. When the Calgary Power Company eventually proposed the development of a second site to create what would become the Spray Lakes Reservoir, the parks department was firmly opposed. However, rather than this halting the development at the Spray Lakes site, the park boundary was simply redrawn to exclude the new reservoir and its facilities. Figure 06 The incompatibility of this new industry was not with the landscape or the environment of the site, but with the territory, definition and boundary of the park itself. These events played a significant role in the Parks department of Canada determining a doctrine of inviolability for National Parks, conceding territory in order to maintain an imagery of pure and undeveloped wilderness within park boundaries. The policy marked a renewed commitment to create a wilderness within the park that was absolute and absent of any visible industrialization, while the potential to simply re-draw the borders of this cohesive zone still offered a certain capacity to adapt the territory as the Canadian government saw fit. Should new resources trapped within the boundaries be discovered or suddenly offer some new value, such as a river valley that might be flooded to become a hydro-reservoir, the lines on the map could simply be redrawn. The hydro-developments at the Spray Lakes Reservoir and Lake Minnewanka are just two examples of the countless contexts and tensions that the boundary of Banff National Park has navigated throughout its history. Rather than simply an ecological reserve, it has become a fundamental division and threshold within an incredibly complex and layered landscape. Understanding this complexity and what has shaped the park boundary in the past can provide important insights into what forces might try to reshape it again in the future, as ever-increasing environmental pressures and expanding populations present new challenges, continuing to redefine our cultural attitudes towards wild spaces across Canada. Back to the Cairn List of Figures Fig. 01: [Aerial Photo of Lac Des Arcs, Bow Valley, Exshaw], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/iii/a/3/pa-281) Fig. 02: [Route Map Between Calgary and Banff], Whyte Museum of the Canadian Rockies (c5/6.0-c) Fig.03: [Devil’s Lake (Lake Minnewanka) Near Banff], Whyte Museum of the Canadian Rockies, Sidney A. Smyth Fonds (v24/17/na66-1633) Fig. 04: Lake Minnewanka Floodplain, Image Overlay, Mountain Legacy Project Fig. 05: Lake Minnewanka Floodplain, Image Overlay, Mountain Legacy Project Fig. 06: Map of Spray Lakes Reservoir and Evolving Park Boundary References 1. Leslie Bella. Parks for Profit (Montreal: Harvest House, 1987) 11. 2. Leslie Bella. Parks for Profit (Montreal: Harvest House, 1987) 11. 3. CPR Connecting Canada, “Tourism & Recreation,” Timeline. https://cpconnectingcanada.ca/ 4. Armstrong, Christopher, and H.V. Nelles. Wilderness and Waterpower: How Banff National Park Became A Hydroelectric Storage Reservoir (Calgary: University of Calgary Press, 2013), 63. 5. Armstrong, Christopher, and H.V. Nelles. Wilderness and Waterpower: How Banff National Park Became A Hydroelectric Storage Reservoir (Calgary: University of Calgary Press, 2013), 115-117. Project Weblink: https://atlasofbanff.ca/

Celebrating Community With New Fall Exhibitions at the Whyte Museum: Tom Willock and Bow Biennial Back to the Cairn This fall, the Whyte Museum's exhibitions are a celebration of community, and a successful opening on Friday, October 20th exemplified just that. Tom Willock: Celebrating and Exception Photographer and Bow Biennial: Four Unique Perspectives , featuring four Alberta artists Amy Dryer, Wanda Ellerbeck, Barb Fyvie, and Eillen Murray, are hosted at the Whyte Museum until January 21st, 2024. (Insert quote from Donna) About the Exhibitions Tom Willock: Celebrating an Exceptional Photographer In A Celebration of Tom Willock , a selection of his work captures the grandeur of his craft and his intimate connection to the mountainscapes, highlighting his distinct style and great passion for the natural world. For his photograph entitled "Dawn Mist Falls," Tom hiked for days foraging through streams to capture this image, his keen eye capturing the quiet stillness of the light hitting a cluster of leaves at just the right moment. Each of these photographs is a thoughtful capture; when the light is perfect and the scene reveals itself beautifully for just a fleeting moment in time. “My sense of myself is inseparable from the land. My photographs have no purpose, no intention beyond truthful expression… For each of us, the expressive print will hold its own meaning and beauty,” Tom explains in his 2003 biography. Tom Willock was raised in southern Alberta and attended the University of Alberta where he received a bachelor of science, going on to complete his master’s in science from Carleton University in Ottawa. He began his career in natural history and photography at the National Museum of Natural Sciences. Tom began photographing using a large format camera, creating his traditional black-and-white images of waterfalls, rivers, mountain peaks, flora, and fauna. Tom was the director of the Medicine Hat Museum and Art Gallery from 1978 to 1998. Since 1999, he, along with his wife Susan, have run the Willock and Sax Art Gallery. It was first in Waterton National Park before eventually relocating the gallery to Banff National Park, where he currently lives and works with his wife Susan Sax-Willock. Tom has published several articles for science, art, and history, and is the author of A Prairie Coulee published in 1990. He has had over 30 solo and group exhibitions and has been invited to lecture on photography and the natural sciences worldwide. His work is owned locally and internationally. Gallery 1 Bow Biennial: Four Unique Perspectives As we focus on our local community this fall, we bring back the Bow Biennial. This has traditionally reoccurred every two years here at the Whyte Museum and with a short pause due to the pandemic, we are happy to bring it back for our fall exhibition! Bow Biennial: Four Unique Perspectives highlights four artists from Alberta, Amy Dryer, Wanda Ellerbeck, Barb Fyvie, and Eileen Murray who have their own unique style of creating art. All share the same sense of place in their work expressed in distinctly different ways. Amy Dryer’s style is reminiscent of German Expressionism, with her gestural style conveying everyday experiences through line, form, and colour. The distortion and perspective of the view give a feeling of familiarity. Wanda Elllerback’s work has evolved from expressive dance to painting. In her approach, she is never sure where the ideas are coming from, but they seem to be attached to memory and a sense of place. She starts with simple colour, with shapes emerging and conceptually working through the piece. Barb Fyvie explores the relationship between humans and their interaction with the wilderness through a conceptual style of painting. Her paintings are an expression of how it feels to be in the forest. Barb likes to experiment with the endless possibilities of what can be put on a canvas in an attempt to convey a feeling rather than a visual representation of what has been experienced. Eillen Murray’s works walk the fine line between fine art and decoration, both influencing her craft with trending colours and vintage textures revolving around the domestic space. Murray explains, “Within my research-based practice, I play as a form of contemporary inquiry with representations of domesticity as well as domestic items within current home renovation and decorating trends. My interests include modes of representation that are commonly associated with the baroque period including, theatricality, bravado, and material excess.” Galleries: Gallery 1 : Fall 2023 exhibition opening at the Whyte Museum. Photos by Katie Goldie. Back to the Cairn

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Banff Mountain Book Competition Longlist Finalists – Available Now! Back to The Cairn Are you interested in this year's Banff Mountain Book Competition longlist finalists? Available Banff Mountain Book Titles Prices include GST and exclude shipping Emilio Comici: Angel of the Dolomites - David Smart, 2020 Mountain Literature Finalist ($33.60) Raven's Witness: The Alaska Life of Richard K. Nelson, Hank Lentfer, 2020 Mountain Literature Finalist ($37.75) Winter 8000: Climbing the World's Highest Mountains in the World's Coldest Season, Bernadette MacDonald, 2020 Mountain Literature Finalist ($33.55) The Bear - Andrew Krivak, 2020 Mountain Fiction Finalist ($26.78) Talking with Bears: Conversations with Charlie Russell - Gay Bradshaw, 2020 Mountain Environment and History Finalist The Adventurer's Son - Roman Dial, 2020 Adventure Travel Finalist ($37.79) Labyrinth of Ice: The Triumphant and Tragic Greely Polar Expedition - Buddy Levy, 2020 Adventure Travel Finalist ($41.99) Blue Sky Freedom: An Epic Family Journey to the Heart of the Himalaya - Bruce Kirkby, 2020 Adventure Travel Finalist ($36.70) Climbing Rock - Francois Lebeau and Jesse Lynch, 2020 Guidebook Finalist ($70.88) Crack Climbing: The Definitive Guide - Pete Whittaker, 2020 Guidebook Finalist ($39.85) The Wild Coasts of Canada - Scott Forsyth, 2020 Mountain Image Finalist ($63.00) Shop in-store and online today! Curbside pick-up is available. Have questions? Please reach out to our Museum Shop team at shop [at] whyte.org. Back to The Cairn