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Back To The Cairn By Dagny Dubois, Archives and Special Projects and Support for Indigenous Initiatives The way we showcase history is often a reflection of our society and what we hold dear. Looking back to 2012, when the permanent exhibition Gateway to the Rockies opened in the Heritage Gallery, it is apparent to me how our community values have evolved. As The Cairn reported it, the exhibit used “fun and interactive” elements, seeking to “...bring to life the men and women who shaped the culture of these mountains.” This exhibit has been through several iterations (it was a big day when the full-size helicopter was removed!), but overall, the stories and characters illuminating them remained the same. That story is one worth stepping back and reflecting on. It is a good time to question whose history is being honoured, who is being left out, and how language and presentation can confirm these narrative choices. Photo 1 We live in a transformative era, one in which institutions like museums are being invited to be accountable to communities they have misrepresented or left out of their exhibits, and in many cases benefit from in their collections. The Whyte is no exception; it is important to address where we have neglected uncomfortable histories, used outdated language, and continued colonial narratives and harm. There are many steps towards change happening within the institution, one of them is the Truth-Telling Interventions that have been added to text panels in the Heritage Gallery. Photo 2 Members of our new UNDRIP Alignment Working Group (UAWG), as well as other staff, were invited to walk through the Heritage Gallery in early 2025, to look at the exhibit with a beginner's mind and a discerning eye. They were asked to share where they saw gaps in the narrative, as well as any images or items that felt offensive or out of place. A variety of viewpoints were shared, and we prioritized what needed to be addressed most critically. A series of yellow labels was written to add to existing text panels. We named them Truth-Telling Interventions. These yellow labels are meant to interrupt the viewer from quietly accepting the original text as reality. They are meant to present communities or individuals who are missing, misrepresented or glossed over. For example, looking at the missing presence of local Indigenous communities in the "exploration" narrative, the story of prisoners from the Internment camps who built key infrastructure in Banff National Park, and the vast number of Chinese railway workers who were mistreated in the glorified mission of a completed rail line. The goal of these interventions is to bring more voices to our shared history as a way to be more respectful and ethical in our museum practice. Photo 3 The process that created the Truth-Telling Interventions  was a collective movement motivated by a desire to do better and a willingness to change. It has been inspiring to be part of, and brings to mind the words of Education and Museum Studies scholar Brandie Macdonald who said,   Like water, one person working towards decolonising in the field can make a difference, can create a passageway for present and future generations. Similarly, when we work collectively, we move mountains and change the ecology of the museum field. We are water and together we can effect transformative decolonial change.     We look forward to sharing our ongoing process and commitment towards meaningful change and welcome all to engage in new dialogues and the respectful exchanges of ideas. Learn more about our Truth-Telling Interventions and the history of the systemic removal of Indigenous Peoples in Banff National Park by visiting the Heritage Gallery at The Whyte and the Reading Room near the Archives and Special Collections Library, featuring the display Exclusion, Removal, and Resilience . Plan your visit by visiting whyte.org Sources: The Cairn, Spring/Summer 2012, pg. 4 MacDonald, Brandie & Vetter, Kara. “From the Colonial to the Decolonial: The Complex Intersection of Museum Policy and Practice”, 2021. South African Museums Association Bulletin, Vol. 43, No.1. Photos: Past display featured in the Heritage Gallery. Photo provided. Truth-Telling Interventions Panel at the entrance to the Heritage Gallery. Truth-Telling Intervention label addition to The Age of Auto display in the Heritage Gallery. Back To The Cairn

Back To The Cairn By Emma De Sousa, Coordinator of Indigenous Relations In March of 2025, change was in full swing at The Whyte. The galleries were deep in construction mode as we made way for the groundbreaking exhibition The Ancestors Are Talking: Paintings by the Indigenous Seven curated by Joseph Sanchez, Dawn Saunders Dahl, and Christina Cuthbertson. In a time of such incredible change towards more diverse, inclusive, and culturally respectful programming at The Whyte, something on the property was sitting uncomfortably with its employees. A 38-foot-tall carved pole standing amongst the trees in front of the building. How could we mount an exhibition of seven phenomenal Indigenous artists who had to break through racial barriers to enter the contemporary Canadian art world, and claim a change in our attitudes and mission as an institution towards inclusivity and respect, when a piece of art appropriating the imagery of a totem pole and depicting caricatured Indigenous figures stood on the property? Photo 1 What the Carved Pole Was, and Where It Came From The “carved pole,” as it is cataloged in the collections database, was created by Reginald Harris, a British immigrant to Canada, out of a decommissioned telephone pole in the 1960s, which was then subsequently donated to The Whyte in 1976. According to an article in the Banff Crag & Canyon in that same year, it was presented as a carving inspired by First Nations, Māori, and broader Polynesian cultural art forms. According to the author of the same article, Mr. Harris went to great lengths to ensure the public understood this was not a totem pole but a simple carving. Carving was a hobby Mr. Harris picked up while on vacation in Hawaii, after witnessing some local artisans creating carvings of culturally significant imagery and selling them to tourists. Mr. Harris then decided to stick around for a bit and learn the craft. Photo 2 Though the item was created back in the 1960s, our understanding of cultural appropriation has evolved significantly since then. To define the term, cultural appropriation involves the adoption or use of elements from one culture by members of another culture, usually involving privilege and power from the appropriating culture. The appropriation of these elements often occurs without proper respect, acknowledgement, or understanding of its original significance. In the case of the carved pole, what may have once been thought of as a benign artistic expression from a local hobbyist is now recognized as problematic and harmful. This is due to how it misrepresents Indigenous cultural symbols and caricaturizes Indigenous peoples. The item is also problematic due to its pan-Indigenous representations. The pole depicts a mixture of at least three general cultures , which further displaces the unique identities, geographic localities, and understanding of the figures in which the artist carved. Context, Canadiana, and Tourism It is incredibly important for cultural institutions to critique objects in their collections, such as this one, and to call into question the origins and intentions behind the creation of culturally appropriative art and, more broadly, the legacy of cultural appropriation as a practice of colonial nostalgia. [1]  Museums are not and have never been neutral spaces, and often carry the proverbial load of building national identities. Objects like the carved pole fit distinctly within the realm of Canadiana, which can often be culturally appropriative without full acknowledgement of the people, ideas, practices, and art forms it takes its symbology from, most commonly from Indigenous peoples. This Canadiana also takes on another responsibility in the development of the commercialization of Indigenous peoples and culture, something the town we are situated in has always and continues to perpetuate. Both through the sale of “Indigenous-inspired” souvenirs mass produced overseas, and the development of Indigenous programming readily available for tourist consumption. All of this to say that there is a long-standing history of the use of cultural appropriation for recreational activities, including sports teams’ mascots, Halloween costumes, tourist trinkets, etc.[2] However, cultural appropriation is not innocent fun; it perpetuates stereotypes that have real-world repercussions on Indigenous rights, lifeways, and safety.[3] Objects such as the carved pole, which depict Indigenous people as caricatures, harken back to the days when Indigenous representation in art and media included Tonto, Disney’s Pocohontas, and John Wayne Western films. Indigenous people were depicted as a punchline, an obstacle in the protagonist’s path, a romanticized disappearing race, or an outright villain. This representation in art and media reflected real-world treatment of Indigenous people as expendable or inconvenient, a continued factor in the racism Indigenous people experience today. In the last few decades, since the development of the Truth and Reconciliation Commission of Canada and movements such as Land Back, the American Indian Movement, and Idle No More, we have seen a shift in the way Indigenous people are represented in pop culture, art, and media, to allow for greater specificity, truth, and nuance in depictions of people and cultures that continue to fight for fair treatment across a wide range of arenas. If arts and cultural organizations leave objects like the carved pole unquestioned, do we risk undermining the incredible effort towards the development of Indigenous rights and anti-racism work?   From New Museology to Institutional Responsibility Cultural institutions have been reassessing their roles and responsibilities to do this work through scholarship since the 1980s development of New Museology. Attempting to truthfully acknowledge our responsibility in presenting narratives that are harmful to many cultures. Having deeper conversations on how we represent the communities whose objects we hold in our collections and who sometimes entrusted their possessions to us. In my eyes, this is a responsibility that should not be trivialized.   This shift in perspective underscores the need for cultural institutions to continually reassess their collections to ensure they honour and respect the cultural integrity of the communities represented, in addition to further aligning with the expectations outlined in the Canadian Museums Association's Moved to Action Report: Activating UNDRIP in Canadian Museums. The decision to remove the pole is a decision to align with our institutional values and commitment to respecting Indigenous cultural heritage. It is a tangible demonstration and addressing of past oversights that continue to cause harm to Indigenous peoples. We believe in fostering an environment where all cultures are respected and represented with integrity in every aspect and space of the museum. With that said, this is what we as an institution have done, and plan to do. Photo 3 Timeline Early-March 2025 –  Head Curator Christina Cuthbertson actions the removal of the pole, staff are consulted on their insights as to the most appropriate approach to communicating its removal. Mid-March 2025 –  A proposal is sent out internally on the agreed upon communication strategy, as well as timeline of removal and subsequent work. Maintenance team is greenlit to remove the pole from its location. Before May 1 st , 2025 – The carved pole is removed, wrapped in polyurethane, and stored in a temporary storage location. May to August 2025 –  A deaccessioning process is developed for the item, outlined by the Canadian Museums Association and informed by the Hosting Indigenous Community Relations Team and the Indigenous Relations Department. Summer 2025 –  Publish an article in the Cairn outlining our intended process and reasoning as both an opportunity for institutional transparency, as well as a valuable learning opportunity for both The Whyte and our community. September 2025 –  Select the method of disposal best suited to achieving our objectives. So, what are we going to do with the pole? The carved pole is currently in storage while we evaluate our next steps. If the decision is made that the pole needs to be deaccessioned, we are committed to following the Canadian Museums Association's guidelines for deaccessioning objects within heritage collections. This standardized best practice ensures that any decisions regarding the pole are made transparently, respectfully, and in line with industry standards. However, the field of new museology offers some interesting suggestions regarding additional approaches to the removal of objects. New museology scholars and curators such as Hamza Walker suggest a recontextualization of harmful imagery. His upcoming exhibition  MONUMENTS  displays and reorients the removed and destroyed Civil War-era statues across the United States over the last decade, highlighting that these objects can be used to educate the public about the missing perspective instead. Through this exhibition, Walker poses the questions: What does it mean for our society if all these kinds of objects disappear for future generations without recontextualization? Do we risk falling into the same patterns? Do we utilize these items to truth-tell instead? Part of the work in the art and heritage sector is about telling uncomfortable truths. Museums are moving into a new space and role since the fall of many types of colonial-era monuments in the US and Canada throughout the late 2010s and early 2020s, sending ripple effects across the arts and heritage sector globally. Instead of removing an object silently, the new industry standard suggests we remain transparent as to our thinking; in the end, it is far more likely we will all learn something by critiquing an object and discussing its removal outside of internal institutional conversation. My hope through writing this article is to remain transparent and encourage readers to consider culturally appropriative pieces more in-depth. Operating in Banff, on sacred and deeply important Indigenous lands, where we see millions of visitors from around the globe annually, I believe that it is our responsibility as a cultural institution to be open and honest with our past, in the hopes and efforts that we can endeavour to create ethical and more inclusive practices for our future. Sources: [1]  Birdsall, John. “Tiki Bars Are Built on Cultural Appropriation and Colonial Nostalgia. Where’s the Reckoning?”  Los Angeles Times , November 27, 2019.  [2]  Hirschfelder, Arlene, and Paulette F Moulin. “I Is for Ignoble: Stereotyping Native Americans.” Jim Crow Museum, February 22, 2018. https://jimcrowmuseum.ferris.edu/native/homepage.htm .  [3]  Ibid. Photos: Exterior photo of the museum in 2020 with carved pole seen to the right. Provided photo. "Retirement was a astart for Reg Harris," Banff Crag & Canyon, November 10, 1976, page 5 Maintenance team removing the carved pole from the museum grounds in April 2025. Back To The Cairn

Back To The Cairn Guests at the summer exhibition opening of The Ancestors Are Talking . There's one month left to visit our current exhibition, The Ancestors Are Talking: Paintings by the Indigenous Seven , which has seen record numbers and overwhelming success this summer. Visitors have remarked on the exhibition as "exceptional," "a privilege to enjoy," and "rewarding to learn about," and it was recently reviewed in Forbes magazine. The opening weekend running May 2nd to 4th, 2025, featured two celebratory exhibition openings and a sold-out live performance by acclaimed Mohawk singer-songwriter Logan Staats. The opening evenings brought together families and friends of the Indigenous Group of Seven artists, Indigenous communities, arts and culture leaders, members and donors, Banff visitors, and locals from the Bow Valley and Mini Thni. Collectively curated by Joseph M. Sanchez, the last living member of the Indigenous Group of Seven, alongside Dawn Saunders Dahl, Director of Indigenous Programs and Relationships, and Christina Cuthbertson, Chief Operating Officer and Curator, the exhibition was a significant shift for The Whyte. In her opening remarks, Dawn Saunders Dahl noted: "This exhibit is the result of healthy, positive leadership. The team at The Whyte includes leaders who actively pursue actions that embrace reciprocity, ensuring that nothing about us is done without us." The opening program also included dances by Stoney artists Kyle Kaquitts, Jarron Poucette, Wayne Bearspaw, as well as words of welcome by Stoney Elder Henry Holloway and curator Joseph Sanchez. Expressing gratitude for the community's support, David Cox, CEO at The Whyte, shared: "This small organization is undergoing a significant transformation... Our aim is to provide our amazing local community and tourist visitors with a broader range of arts and cultural experiences than previously offered.   The sky is the limit as to what we will explore and provide in the way of opportunities for your future engagement with the high artistry of our exhibitions, programs and performances. We are so proud to be expanding into these new initiatives. You all give us the energy we need to keep moving along with the exciting transformation. Thanks to all of you for your support." As the exhibition enters its final months, visitors are encouraged to spend time with the works, participate in educational tours and upcoming events, and bring others into the conversation. Plan your visit and see what’s next at whyte.org Gallery 1 About the Exhibition The Ancestors Are Talking: Paintings by the Indigenous Seven Norval Morrisseau. Attitude and Attention, Punk Rockers. Circa 1991. The Norval Morrisseau Estate, OfficialMorrisseau.com . Encompassing works from the Indigenous Group of Seven, works on display include paintings of the land and family inspired by the mountains of Jasper; views of the Boreal Forest like no other, and images of strength and resistance, which enlighten us to the natural world and ceremony. Imagination and abstraction are shared ideas in the journey of seven artists who, with their inspiration and wisdom, changed the canon of Indigenous art in Canada and continue to inspire future generations of Indigenous artists. Art, colour, culture, and spirituality filled the early conversations of the Indigenous Group of Seven, followed by decades of painting and activism. They created art to awaken a troubled world, with colours from the quantum reality. The Indigenous Seven include: Daphne Odjig (1919-2016), a mentor for many and master of color and story. Alex Janvier (1935-2024) whose paintings depict delicate lines and with an understanding of color and form that are otherworldly. Norval Morisseau’s (1932-2007) paintings are full of the natural world, shaman wisdom and color from the House of Invention. The spiritual interrogation of legends by Carl Ray (1943-1978), whose time with us was short, but who inspired us to look with a new understanding. The unique abstraction of Jackson Beardy (1944-1984), the sensitive portrayal of nature by Eddy Cobiness (1933-1996), and the surreal dreaming of Joseph Sánchez (b. 1948). In a braid of sweetgrass, three big strands create a braid, carrying with it the many individual blades of grass. The three retrospective exhibitions at the National Gallery by Norval, Daphne and Alex opened the door to Indigenous arts in Canada. The artistic legacy of this iconic art collective from Canada is presented through the eyes of Joseph M. Sánchez, lead curator and last living member, with The Whyte’s curators, Dawn Saunders Dahl and Christina Cuthbertson. This exhibition is supported by The Rimrock Banff, The Estate of Norval Morrisseau, EA Studios (Jasper) Ltd., Bearclaw Gallery, and Bowstrings Heritage Foundation. Be sure to visit The Whyte to enjoy this exhibition - on until October 19th, 2025! This exhibition is supported by: Want to learn more about our exhibitions? Visit our website and stop by this winter to view them in person! Gallery 1: Photos from the summer 2025 exhibition opening at The Whyte. Photos by Katie Goldie. Back To The Cairn

Back To The Cairn By Chris Chang-Yen Phillips, Lillian Agnes Jones Scholarship Recipient 2024/25 The most unusual thing about the Parks for Tomorrow march through Banff in October 1977 wasn’t the 200-250 protesters putting up with the rain. It was the fact that both CTV and CBC sent news vans out from Calgary to film them. A grip apparently told CTV reporter Barbara Amiel, “Maybe it’ll be a stand-off between you and Adrienne Clarkson.”[1] Prominent newspaper coverage of the Parks for Tomorrow march. From: “Marchers protest Sunshine expansion,” Calgary Herald , October 24, 1977. Parks for Tomorrow was a coalition of scientists and environmental groups that came together to protect national parks from commercial exploitation.[2] Most urgently, they wanted to stop the Sunshine Village ski resort expansion in Banff National Park, and cattle grazing and haycutting in Waterton and Prince Albert. Their campaign centred around a march down the streets of Banff on October 23, 1977. Over the past year, I’ve studied their work as part of a research project with the Whyte Museum, supported by the Lillian Agnes Jones Scholarship. The project explores how small environmental groups in Alberta interacted with media in the 1970s. It was a uniquely hopeful time for environmental activists, and many saw media coverage as a crucial part of their consciousness-raising.[3] Conservation groups across Canada endorsed the Parks for Tomorrow campaign, claiming to represent over 750,000 members.[4] Ground-level organizing was done by a handful of volunteers, many from Banff’s Bow Valley Naturalists (BVN). This article is based on newspaper articles and BVN records at the Whyte Museum. BVN had about 90 members: locals interested in natural history and protecting Rocky Mountain natural areas. In 1969, they hosted a talk by Stephen Herrero, a University of Calgary professor in environmental studies, who said there was a dire need to protect and create national parks. He encouraged attendees to write to government officials, since “public opinion was a major influence on government decisions.”[5] This advice seemed to resonate. Over the next few years, BVN wrote letters to park officials, submitted “State of the Park” reports, and made statements in newspapers and public hearings.[6] These strategies helped defeat a $30 million proposal to expand tourism facilities at Lower Lake Louise. The Village Lake Louise plan would have included a year-round visitor service centre, shops, and accommodations for nearly 6000 visitors and staff.[7] BVN joined scientists and other conservation organizations in speaking against it.[8] Jean Chrétien was the federal minister responsible for parks, and in July 1972 he rejected the proposal, concluding it would lead to an unacceptable level of environmental impairment.[9] In 1977, many of the same activists came together to fight commercial exploitation and political manipulation of parks. BVN President Geoff Holroyd helped rally them to form the Parks for Tomorrow coalition. The Sunshine Village expansion and the decision to allow cattle grazing and haycutting in Waterton and Prince Albert “sparked the coalition’s desire to go beyond the normal avenues of letter writing and dialogue,” says BVN historian Margery McDougall, “which had until then produced only frustration.”[10] They hoped a high-profile protest would make sure their message was heard. Herrero wrote to every conservation group in the Canadian Nature Federation’s national index to ask for support, and many agreed.[11] A flyer for the Parks for Tomorrow protest. “Stop Exploitation of our National Parks,” n.d. Parks for tomorrow. 1977-1978. Bow Valley Naturalists fonds. M186 / 24 / 14. Archives and Library, Whyte Museum of the Canadian Rockies. Before this, BVN seemed to target media outreach on small local newspapers, which would print their opinion pieces or positive stories about their nature surveys.[12] Parks for Tomorrow organizers decided to invite mainstream radio and TV networks to cover their march, but struggled to figure out what they would need or when.[13] Local coverage of the march. From: “Marchers protest Parks policy,” Crag and Canyon , October 26, 1977. In the end, CBC and CTV sent TV news crews to the protest, and radio stories aired on CBC, CFCN, and CKXL.[14] The Crag and Canyon  gave it front-page coverage, with a photo of demonstrators close-up enough to see their ponchos and read their signs.[15] A Herald  article included a large photo of protesters in front of the park headquarters. “The marchers slogged through rain,” the reporter said, “to present parks superintendent Paul Lange with briefs and a petition signed by more than 20 naturalist groups representing about 750,000 people across Canada.”[16] For environmental activists, it’s a good day when a major Alberta newspaper portrays you as ordinary people putting up with bad weather to present reasonable concerns. They attracted positive media coverage by organizing a photogenic event with endorsements from groups representing hundreds of thousands of Canadians. Hosting the march in Banff probably helped, since the park was symbolic of national issues and close enough for Calgary reporters to reach. In the full article for this project, I explore two more case studies.  One looks at Lake Louise journalist Hilary McDowall, who showed frustration with campaigns against ski tourism projects. The other looks at the Whale Society of Edmonton. I hope this research helps environmental groups and journalists better understand each other. Want to read the full research reports from each recipient? Please visit whyte.org/scholarship Interested in learning more about Canadian Rockies history? Book a research appointment at the Archives and Special Collections Librar y at The Whyte. Archives and Special Collections appointments are available Tuesday – Friday, 1:00 p.m. to 5:00 p.m. To make an appointment or for inquiries email:  archives@whyte.org   For more information on visiting The Whyte, visit us online at whyte.org/visit . The museum is open daily from 10 a.m. to 5 p.m. Endnotes: 1. Before becoming Governor General of Canada, Clarkson was a CBC reporter. Amiel told the grip, “No – Adrienne never does stand-ups.” “Marchers protest Parks policy,” Crag and Canyon , October 26, 1977. 2. Not to be confused with the Parks for Tomorrow conference in 1968, which had no direct relationship besides using the same name. 3. Louise Swift, “From Nuclear Disarmament to Raging Granny: A Recollection of Peace Activism and Environmental Advocacy in the 1960s and 1970s,” in Bucking Conservatism: Alternative Stories of Alberta from the 1960s and 1970s , ed. Leon Crane Bear, Larry Hannant, and Karissa Robyn Patton (AU Press, 2021), 241–52. 4. Margery McDougall, “History of the Bow Valley Naturalists,” May 1980. Document file. 1967-2010. Bow Valley Naturalists fonds. M186. Archives and Library, Whyte Museum of the Canadian Rockies. 5. “Resume of Meetings and Outings of the Bow Valley Naturalist Club October 1969 to October 1970.” Press releases and newsletters. 1967-1980. Bow Valley Naturalists fonds. M186 / 23. Archives and Library, Whyte Museum of the Canadian Rockies. 6. McDougall, “History of the Bow Valley Naturalists,” 1980, 4. 7. Chen and Reichwein, “The Village Lake Louise Controversy,” 92; Hilary McDowall, “The Village Lake Louise Plan,” Kicking Horse News , March 1972, 2. 8. “Brief re Village Lake Louise,” (1972?), Bow Valley Naturalist papers. 1970-1990. Jon Whyte fonds. M88 / 816. Archives and Library, Whyte Museum of the Canadian Rockies. 9. Chen and Reichwein, “The Village Lake Louise Controversy,” 103. 10. McDougall “History of the Bow Valley Naturalists,” 1980, 5. 11. CNF is now known as Nature Canada. Stephen Herrero to all organizations in CNF list of Canadian Conservation Organizations 1975/76, n.d., Parks for tomorrow. 1977-1978. Bow Valley Naturalists fonds. M186 / 24. Archives and Library, Whyte Museum of the Canadian Rockies. 12. “Vermillion Lakes given careful study,” Crag and Canyon , April 27, 1977. 13. “Notes: Parks for Tomorrow – Organizers meeting,” October 4, 1977. Parks for tomorrow. 1977-1978. Bow Valley Naturalists fonds. M186 / 24. Archives and Library, Whyte Museum of the Canadian Rockies. 14. “Notes: FON – 20,000,” n.d., Parks for tomorrow. 1977-1978. Bow Valley Naturalists fonds. M186 / 24. Archives and Library, Whyte Museum of the Canadian Rockies. 15. “Marchers protest Parks policy,” Crag and Canyon , October 26, 1977. 16. “Marchers protest Sunshine expansion,” Calgary Herald , October 24, 1977. Back To The Cairn

Back To The Cairn By Tera Swanson, Marketing and Communications Manager Image 1 Across generations, mountain landscapes have been influential foundations of identity and meaning, rooting a spectrum of experiences and cultures within a shared sense of place. Yet many of these perspectives are intertwined in complex histories, creating layered narratives behind how these landscapes are celebrated, romanticized, contested, and claimed. What are the roots of these perspectives, and how might we re-evaluate them differently today through a more nuanced lens? Opening November 1, 2025, at The Whyte, Elise Rasmussen: An Alpine Trilogy takes this question into the heart of the Alps. Through three interlinked bodies of work that resonate deeply in Banff, Rasmussen reframes histories of conquest, grandeur, and nostalgia. Rasmussen asks us to look past the postcard alpine sublime and notice the instruments, both scientific and cultural, that made those views possible. — Christina Cuthbertson, Chief Operating Officer and Curator The trilogy incorporates several different media, culminating throughout The Whyte's gallery walls and spaces as a multi-room presentation of photographs, cyanotypes, and film installations, featuring collective works from three projects. Born in Edmonton, Canada (Treaty 6, Amiskwacîwâskahikan), Elise Rasmussen lives in Los Angeles, California (Tovaangar, homelands of the Gabrielino-Tongva peoples) and is currently an artist-in-residence at Triangle in Brooklyn, NY. We connected with Elise to get her first-hand perspective on her works in her own words, and to learn what she's hoping audiences at The Whyte will take away after visiting. Image 2 For readers new to your work, how would you introduce this project in a sentence or two? What ties the three works in An Alpine Trilogy together? An Alpine Trilogy is comprised of photographs, cyanotypes and film installations from three projects created between 2017-2025: Did You Know Blue Had No Name? , The Year Without a Summer , and Nostalgia: A Return to the Alps in Five Vignettes . These works juxtapose historical narratives related to the Alps with contemporary concerns regarding land stewardship, post-colonialism and the climate crisis. This will be the first time showing works from all three of my Alps-related projects together. What sparked the initial idea, and what core question are you exploring through your work? The genesis for creating these projects came from time spent on an artist residency at the Banff Centre as a Barbara Spohr Memorial Award recipient in 2017. While on the residency, I was looking at the origins of Banff as a National Park, and I learned about the role that Swiss Mountain Guides played in the creation of mountain culture and tourism in the Canadian Rockies. I began to trace this history back to the origins of mountaineering in Europe, and this led me to the story of the first ascent of Mont Blanc. I became particularly fascinated by Horace Bénédict de Saussure’s cyanometer (a colour wheel used to measure the blueness of the sky) and how Saussure’s desire to test this and other scientific instruments became a driving force in his quest to conquer Europe’s tallest mountain. This research led me to the creation of my first work on the Alps: Did You Know Blue Had No Name? which weaves together various epistemologies related to “blueness,” examining the colour blue and its influence on mountaineering, early photographic technologies, art history, and how knowledge is ascribed and recorded. Image 3 How did research or lived experience shape what we encounter in the final work? My research-based practice weaves together disparate histories mediated through my subjective experience. In all of my projects, I spend time in archives and in the geographical location which I am researching (in this case, the Alps), and this permeates into what is shared through my photographs and films. In Nostalgia: A Return to the Alps in Five Vignettes , I revisit sites in Switzerland that were vital to the creation of literary works by Rilke, Fitzgerald, and Mann, looking at how these places occupy a space that is simultaneously physical as well as imaginary. In The Year Without a Summer, I investigate the eruption of Mount Tambora in Indonesia, which resulted in an environmental anomaly on the world’s weather patterns between 1815 and 1816. This had a great influence on art coming out of this period (such as in the works of Turner and Friedrich) and influenced Mary Shelley’s writing of Frankenstein . For this project I hiked to the top of Mount Tambora in Indonesia to film the site of the eruption, filmed Turner’s sketch books housed at the Tate in London, and I spent three months on an artist residency on Lake Geneva (which was the same amount of time Mary Shelley spent on the lake in the Summer of 1816). My experiences in all of these places are woven into the narrative of the film. Image 4 Was there a challenge or surprise that changed the direction of the project? A research rabbit hole or on-the-ground moment? While I was on my residency at La Becque working on The Year Without a Summer , I fractured my hip and was on crutches for the last six weeks of my stay. This meant forfeiting shoots I had planned, and it threw a wrench into my plans for the project. I began to consider the similarities of my experience in the summer of 2019 to that of Mary Shelley’s experience in the summer of 1816. Due to terrible weather, she and her literary friends were forced indoors instead of boating and hiking around Lake Geneva, and to pass the time, they created a ghost story competition, which resulted in her writing  Frankenstein . Because my mobility was limited, I decided to turn my camera inward and use the site of the residency itself. My fellow artists-in-residence became my stand-in for Mary Shelley and her circle. Had I not fractured my hip, the work would be a completely different piece. I was also lucky that La Becque is remarkably beautiful and a great place to convalesce, and it was through this convalescence that I started considering the relationship between the Alps and health, and how this concept has been propagated through literature and tourism. I began investigating sanatorium culture and how the Alps have cultivated the promise of being a place where one’s physical and mental health is restored. This became the premise for Nostalgia: A Return to the Alps in Five Vignettes , and three years later I returned to Switzerland to attend the Villa Ruffieux residency where I began shooting this piece. What do you hope visitors notice first, and what reward is there for a slower look? I attempt to make my work accessible for viewers in that they do not have to come to the show knowing all of these disparate histories to which I am referencing. The works can unfold on many different levels. The photographs and cyanotype installation have a visual quality which will invite viewers into the gallery, and the more time spent with the films will lead to a deeper understanding of the works and how the stories represented have universal themes. Who did you collaborate with in producing this work, and how did that shape the outcome? I am greatly influenced by attending artist residencies and all of these projects were created with support from residencies which have provided time, space and community, which have ultimately shaped my work. What parallels can you draw from this particular piece of work within the context of Banff National Park? What drew you to present your work at The Whyte? I am really excited to show this work at The Whyte as it feels like it is coming full circle in returning to the place where it was first conceptualized. Although the works relate directly to the Swiss/French Alps, there are nods to my roots of having grown up in Alberta and having spent a lot of my childhood in the Rocky Mountains. I do think there are a number of parallels that can be drawn between the Alps and Banff, not only with regard to mountain-scapes and mountaineering, but also in considering how tourism has shaped these places and how climate change is a visible threat to these environs. The Whyte has an incredible collection of archives, which I have only recently discovered, and this is a wonderful resource that fits nicely with my working methodology (and may lead to future work). Aside from the upcoming exhibition at The Whyte, what’s next for you and where can people follow or engage with your work? Right now, I am in a group show, “Femicide,” at the  Shiva Gallery at the John Jay College of Criminal Justice, CUNY,  which runs from September 3 to October 24. People can always have a look at my website  or follow me on Instagram  @eliseseye  to see more of my work and keep up with what I have going on. Elise Rasmussen: An Alpine Trilogy is on at The Whyte from November 1, 2025, to April 12, 2026, curated by Christina Cuthbertson. To learn more about this exhibition and plan your visit, visit whyte.org/exhibitions or stop by in person at 111 Bear Street, Banff, Alberta. Images: Image 1:  Still from “Did you know blue had no name?”, 16mm film transferred to HD Video w Stereo Sound, 6:36 (looping), 2018 Image 2: Still from “The Year Without a Summer,” 16mm film transferred to 4K Video w Quadrophonic Sound, 20:05, 2020 Image 3: “Frankenstein,” 40x50in C-Print, 2020 Image 4: Still from “The Year Without a Summer,” 16mm film transferred to 4K Video w Quadrophonic Sound, 20:05, 2020 Back To The Cairn

Back To The Cairn By Kate Riordon, Reference Archivist Photo by Josie Twoyoungmen. Canmore Collegiate High School, Grade 11. Through the Lens  began in 1997 as a one-week project that included nine students and Craig Richards, the Curator of Photography at The Whyte. Over the following two decades, this innovative program introduced more than 600 students from Banff, Canmore, Mînî Thnî, and around the world to the art and technique of 35 mm film photography. In 1998, the program transitioned into a structured five-month experience, bringing together students from across the Bow Valley. This initiative equipped them with the creative tools to explore new perspectives of their environments, relationships, and personal identities through a medium rapidly being replaced by the emerging digital age. With support and guidance, students embraced this challenge and flourished, culminating their experience with a professional exhibition of their work at The Whyte, complete with a public opening reception where the students were recognized and celebrated by their communities. The program soon expanded beyond the Bow Valley. First to Calgary, where local photographers began mentoring high school students, and the darkrooms at the Southern Alberta Institute of Technology (now AUArts) became available to print the exhibition photos. Through the Lens  began to take on an international dimension when exchange students from countries such as Mexico, France, and Japan, who attended school in Banff and Canmore, shared their experiences in the program with their home countries. Richards, along with Calgary photographers Diane Bos and Karen McDiarmond, as well as program alumni, carried the project with them as they travelled and worked in countries like Uganda, Papua New Guinea, Tibet, and Ukraine. Wherever the program went, the resulting photographs returned to the walls of The Whyte to be displayed alongside those of local participants. Over the years,  Through the Lens  became an eagerly anticipated opportunity for students. For many, it provided a powerful platform of self-expression that continued to shape their worldview long after the program had ended. Richards’ version of Through the Lens  concluded when he retired from The Whyte in 2017, but its legacy would continue in 2024 thanks to a pair of Through the Lens  alumni, Nic Latulippe and Soloman Chiniquay. Nic Latulippe and Soloman Chiniquay participated in the program while attending school in Canmore and Mînî Thnî, respectively. Years later, while pursuing careers in photography in Vancouver, they met and discovered their shared experience as participants in Through the Lens. Inspired by this, they developed an idea to revive the program and proposed it to The Whyte.   They found that   many of the cameras and developing equipment from the old program had survived in storage and were ready to be used again. With funding from the Wim and Nancy Pauw Foundation and another generation of high school students eager to take up film photography, a vibrant new iteration of the program was launched.    The tactile and intimate nature of film photography continues to resonate strongly, even among youth who’ve grown up in the digital-centric era. The art form transcends nostalgia; it promotes an intentional and patient perspective of the world. When exploring the world one film reel at a time, every photo counts. View the Through the Lens exhibtion in the Founders Gallery at The Whyte. This exhbiition is generously supported by: Back To The Cairn

Back To The Cairn By Kate Nielsen, Senior Archivist The Whyte is proud to announce exciting new developments in the Lillian Agnes Jones Scholarship program for the 2025/26 cycle. These transformative changes not only expand funding but also open new pathways for both academics and creatives to engage with Western Canadian history and culture. A Legacy of Support Established in 2001 through a bequest from Lillian Agnes Jones (1909–2000), the scholarship was created to support research into the rich and complex history of Western Canada. Lillian, a graduate of the University of Alberta and the University of Washington State, worked as a librarian for Cal Standard Oil in Calgary and was a cousin to Peter Whyte, co-founder of The Whyte. Originally offered through the University of Calgary, the scholarship returned to The Whyte in 2019, expanding public access and supporting a range of academic research projects. Until recently, a maximum of two scholars per year received $6,000 to support in-person research at The Whyte and access to the museum’s archives, library, and collections. Major Changes for 2025/26 This year, the scholarship program underwent its most significant transformation yet: Total annual funding increased to $50,000, with up to $25,000 available per project. Introduction of two funding streams: Academic Research Creative Production Academic requirements removed, allowing any Canadian citizen or permanent resident to apply—regardless of formal education. These changes were met with a strong response: 35 applications were submitted from across Canada. After a thorough review process, four outstanding scholars were selected for the 2025/26 cycle. Meet the 2025/26 Lillian Agnes Jones Scholars Academic Stream Dr. Rosanna Carver Rosanna’s research takes a unique turn downward, exploring the subterranean dimensions of the Canadian Rockies. Often overshadowed by the region’s iconic peaks, the underground landscape holds complex cultural, political, and material histories. Through archival research and interviews with archaeologists, hydrologists, Indigenous knowledge keepers, and other experts, Rosanna will challenge colonial narratives that have treated the underground primarily as a site for extraction and exploitation. Stephanie Weber Stephanie will explore the intersections of craft art, gender history, and natural landscapes in Western Canada. Drawing from The Whyte’s art and heritage collections, she’ll examine original works by women artists, many of whom remain underrepresented in mainstream art history. Stephanie’s project will question the long-standing division between “craft” and “fine art,” shedding light on the contributions these women made to Canadian cultural history. Creative Production Stream Giona Smalleyes Giona will work with Elders and knowledge keepers from the Îyârhe Nakoda community to harvest sweetgrass and create a traditional rope medallion, following cultural practices passed down through generations. Her project will culminate in a community-based exhibit in Mînî Thnî, encouraging deeper engagement between the Îyârhe Nakoda community and The Whyte Museum’s collections. Her work offers a model for respectful, collaborative relationships between Indigenous communities and cultural institutions. Kari Woo Kari’s project will shed light on Chinese migrant labourers who helped build the Canadian Pacific Railway and contributed to Banff’s early development—stories too often excluded from historical narratives. Using archival materials and first-person interviews, Kari will create a powerful visual and written narrative, with the potential to inform future museum exhibitions and foster more inclusive storytelling. Looking Ahead These four projects represent the future of public history and cultural engagement in Canada: interdisciplinary, inclusive, and community-focused. The 2026/27 call for applications will open later this year. If you’re a researcher, artist, or cultural worker with a passion for Western Canadian history and culture, this is your opportunity to make a meaningful contribution. For details or to inquire about the program, email researchscholar@whyte.org or visit whyte.org/scholarship . Back To The Cairn

Back To The Cairn By Emma De Sousa, Coordinator of Indigenous Relations As someone who grew up urban Métis in Northeast Calgary, I would listen to and absorb my mother’s stories about her grandfather’s life any chance I could get. She had the privilege of being raised by him in early childhood and often spoke of the man who grew up in the rural Interlake communities of Manitoba in the 1930s and 40s. Or told humorous and sweet anecdotes about her mémère and pépère, who were raised on the land in the early 1900s, in a time and place where it was deeply difficult to have been Métis. Since these relatives were long gone to me, I knew these stories were incredibly important, both to my understanding of self and to the lessons and understandings about life that were infused into every account. Reading Ma-Nee Chacabys' autobiography is what I imagine it would have felt like to sit and hear these stories from my elders and relatives firsthand. Sweeping me into idyllic tales of her early childhood in Ombabika and sitting in tears and reverence over her many hardships and losses. Her stories about the love and care of her Kokum (grandmother) in raising her are a special highlight. Overall, enhancing my understanding of life for Indigenous and 2SLGBTQIA+ people from the 1860s to 2014. Ma-Nee Chacaby, a Two-Spirit Ojibwe-Cree Elder and her long-time friend, social scientist Mary Jane Plummer, who assisted in the writing of the book, recite a truly phenomenal life story. It is a rarity to have the privilege to read such a detailed first-person account of life in Canada from an Indigenous lens. Chacaby reflects on an honest experience under some of the most oppressive and difficult times in Canadian history. Overall, creating a text filled with adversity, humour, perseverance, resilience, and hope. Chacaby does an excellent job of communicating some of the most horrific experiences a person can have and showing us her path to sobriety, love, care, and forgiveness. Leaving readers with the awe-inspiring motivation to forgive and take care of ourselves, our communities, and those most vulnerable in our society. Though the book reads clearly and accessible, the content of the text is in no way an easy read. I found I had to take time to check in with my own emotions and process Chacabys' experiences, which were not dissimilar to those of myself and my own family. It is, however, a necessary read. It is a narrative that is extremely relevant and crucial to understand in the current political climate, especially at the time of my writing this in June during National Indigenous History Month. If you have the desire to further learn and understand the Indigenous and 2SLGBTQIA+ experience in Canada, then I highly recommend this book and commend the author for her bravery and strength to share her life with the world. Explore more voices like Ma-Nee Chacaby’s at the Bookstore at The Whyte, featuring a wide selection of works by Indigenous authors. Visit us in person at 111 Bear Street, Banff, Alberta, and continue your journey of learning and reflection. Back To The Cairn

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

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

Back to The Cairn By Kate Riordon, Reference Archivist The Vaux family (pronounced “vox”) of Philadelphia, Pennsylvania were photographers, mountaineers, and scientists. Plotting the route for modern glaciology and exploring the malleable boundary between photography as a tool for art or a tool for science, three siblings left an indelible mark on the Canadian Rockies that continues to influence modern audiences. Photo 1 The earliest Vauxes to arrive in North America left their native England due to increasing religious persecution in the early-mid 1700s. Devout Quakers, they, like many others, sought the freedoms more readily available in the colonies and as a result, thrived. Three generations later, George Vaux Sr. (also referred to as George VIII) planned a trip for himself and his three children on the brand new Canadian Pacific Railway and the rest, as they say, was history. Photo 2 A quick word about Quakers, as it is essential to understanding where the Vaux family is coming from: Quakers formed as an offshoot of the Puritan movement, prioritizing personal relationships with God, strong community ties, and an emphasis on “practical” pursuits like maths, sciences, law, and business. Pastimes that could be considered of a more artistic bent like dancing, music, or even decorative embroidery (remember, this is the mid-1800s, there’s no television or Instagram to pass the time with) were seen as frivolous and “airy notions” not worthy of pursuit. It’s safe to say their bookshelves were full of histories and biographies and that they were pretty handy at sums. They also deeply valued human life as it was the living person, not the eternal soul, that had a relationship with God. As a result, they were huge advocates for humanitarian activities that would improve the rights and lives of all, not just those of their shared faith. The rising tide lifts all boats, as the saying goes. The Vaux family took to these tenements with determination and dedication and they thrived in Philadelphia. By the Industrial Revolution, Philadelphia was the second largest city in the United States and greatly benefited from new technologies like the telephone, electric light, and the internal combustion engine – especially its use in trains. The Vauxes, one of the oldest Quaker families in the city, existed in a social stratum that allowed them to take full advantage of the latter technological marvel and travel extensively via an ever-expanding network of railway lines. Photo 3 Which is how they got here. In 1887, the Canadian Pacific Railway was newly completed and George Sr. and children Mary M., George Jr., and William Jr. made their first trip to Glacier House, British Columbia – a hotel built a scant mile from the toe of the “Great Glacier” Illecillewaet (ill-a-sill-eh-wat). George Sr.’s brother William Sr. was a dedicated mineralogist and an avid supporter of the Academy of Natural Sciences in Philadelphia before his death in 1882; his influence on his niece and nephews can’t be overstated. Photos 4 - 6 (L to R) The family, sometimes both generations, sometimes just the younger, began making annual pilgrimages to the Selkirk and Rocky Mountains – what they called the “Canadian Alps” – with a particular interest in exploring their glaciers. Photo 7 While Mary, George Jr., and William Jr. were all involved in this study, it was William Jr. who took to it fiercely. His notebooks from the late 1800s and early 1900s are full of sketches, measurements, and notes on the behaviour of glaciers they visited year after year – the Vaux family fonds is full of publications penned by William Jr. and his brother for various natural science organizations. Photo 8 Photo 9 The fonds is also full to bursting of photographs. While William Jr. was often content at lower altitudes, Mary M. and George Jr. sought out towering peaks and wide vistas, capturing it all with their cameras. While their family’s religion may not have looked favourably upon the arts, photography existed in a grey area where one could argue for its scientific merit as strongly as for its artistic. And that is where the siblings thrived. Photo 10 Towering walls of ice, mountain peak panoramas, camp scenes, waterfalls, lakes, pack trains, actual trains, their guides, each other, glaciers, glaciers, and more glaciers – Mary M., George Jr., and William Jr. took thousands of pictures and now they can all be found in the Archives. Photos 11 - 16 Often going back to the same sites year after year, they began to notice how the glaciers changed, particularly the Illecillewaet and the Yoho Glaciers. And just like that they started in on the practice of repeat photography (or rephotography), something that their descendant Henry Vaux Jr. continued in the 21st century. Photos 17 - 20 Henry Jr. is actually the third generation of his family to make the pilgrimage to these mountains – his father Henry Sr. and uncle George X visited extensively in the inter-war years, but any rephotography they participated in was casual at best. However, their photographic efforts resulted in informative snapshots of mid-century glaciers that Henry Jr. was able to further expand upon in the late 90s and early 2000s. Photos 21 - 24 In 2013 he published a book titled Legacy in Time that documented his modern photographs of glaciers alongside those taken by the previous generations. Sometimes exactly 100 years apart, including those mid-century photos where he can, Henry Jr. spent many trips over many years finding the exact spots where Mary M., George Jr., William Jr., George X, and Henry Sr. took their photos from and the result is haunting. Photos 25 - 32 What were vast lakes and mighty rivers of ice are now puddles and streams clinging to otherwise bare rock. Perched precariously on their mountain peaks and passes, the glaciers captured by Henry Jr.’s camera 20 years ago show just how much our natural world has changed. Just imagine what they must look like now. Read more about ongoing glacier studies here: Living in an Era of Adaptation: A Study on the “Riskscape” of Abbot Pass by Kate Hanly, Lillian Agnes Jones Fellowship Recipient 2022/23 Rockies Repeat: Chasing Beauty in a Disappearing Landscape The United Nations declared 2025 as the International Year of Glaciers’ Preservation You can view the Vaux fonds in person at the archives and special collections by making an appointment. To search the records before your visit, search online at archives.whyte.org . Archives and Special Collections appointments are available Tuesday – Friday, 1:00 p.m. to 5:00 p.m.  To make an appointment or for inquiries email:  archives@whyte.org   For more information on visiting the Whyte Museum of the Canadian Rockies visit us online at www.whyte.org/visit Photos: 1. Mary M. Vaux, George Vaux Jr., William S. Vaux Jr., [ca. 189], Vaux family fonds (V653 / I / U / 2 / PA – 1) 2. Glacier House, B.C. (No. 60), 1989, Vaux family fonds (V653 / NG – 481) 3. 95 ton locomotive at Field, used to haul trains up upper Kicking Horse Pass (No.63), 1894, Vaux family fonds (V653 / NA – 78) 4. Mount Stephen, [1900], Vaux family fonds (V653 / NA – 235) 5. [Glacier House], 1910-1911, Vaux family fonds (V653 / NA – 725) 6. [Photographer’s Rock, Illecillewaet Glacier], 1910-1911, Vaux family fonds (V653 / NA – 723) 7. Victoria Glacier, 1900, Vaux family fonds (V653 / NA – 328) 8. East of Glacier, 1900, Vaux family fonds (V653 / NA – 159) 9. Asulkan, Burgess Pass #10, to Asulkan, 1906, Vaux family fonds (V653 / NA – 487) 10. [Mary M. Vaux and George Vaux Jr.], 1907, Vaux family fonds (V653 / NA – 546) 11. Yoho [Glacier], 1907, Vaux family fonds (V653 / NA – 516) 12. Mount Stephen, 1900, Vaux family fonds (V653 / NA – 240) 13. Panorama from Mt. Fairview 8/24/04, 1904, Vaux family fonds (V653 / NA – 1283) 14. Camp at Lake O’Hara (No.32), 1907, Vaux family fonds (V653 / NA – 1519) 15. Ice panorama, Illecillewaet Glacier, 1909, Vaux family fonds (V653 / NA – 1586) 16. [Mary M. Vaux and Swiss Guide], [ca. 1900], Vaux family fonds (V653 / NA – 182) 17. Illecillewaet Glacier 8/18/10, 1910, Vaux family fonds (V653 / NA – 651) 18. [Mount Robson], 1913, Vaux family fonds (V653 / NA – 878) 19. Moraine Lake, 1910, Vaux family fonds (V653 / NA – 696) 20. Moraine Lake, 2002, Henry Vaux Jr. fonds (V794 / I / D / NA – 48) 21. Mt. Biddle & McArthur Lake (No.66), 1902, Vaux family fonds (V653 / NA – 1043) 22. Biddle Glacier, 2006, Henry Vaux Jr. fonds (V794 / I / A / NA – 79) 23. Lake Louise (No.18), 1902, Vaux family fonds (V653 / NA – 996) 24. Lake Louise, 2010, Henry Vaux Jr. fonds, (V794 / I / D / NA – 55) 25. Foot of Great Glacier (No.118), 1894, Vaux family fonds (V653 / NA – 83) 26. Illecillewaet Glacier from Photographer’s Rock, 2002, Henry Vaux Jr. fonds (V794 / I / A / NA – 03) 27. Yoho Glacier (No.28), 1906, Vaux family fonds (V653 / NA – 1414) 28. Yoho Glacier, 2006, Henry Vaux Jr. fonds (V794 / I / A / NA – 34) 29. Bow Peak to Crowfoot Glacier 6/8/10, 1910, Vaux family fonds (V653 / NA – 627) 30. Crowfoot Glacier, 2002, Henry Vaux Jr. fonds, (V794 / I / E / NA – 19) 31. [Peyto Glacier], 1902, Vaux family fonds (V653 / NA – 1127) 32. Peyto Glacier, 2002, Henry Vaux Jr. fonds (V794 / I / A / NA – 55) Back to The Cairn

Back to The Cairn Artists Leanne Allison, Jim Elzinga, Roger Vernon, and Tiffany Shaw at the exhibition opening of MELTDOWN. January 2025 brought the opening of two exciting winter exhibitions at The Whyte: MELTDOWN - A Moment in Time and Etched in Ice. Commemorating the United Nations International Year of Glaciers' Preservation, the opening event was a memorable evening of celebrating Canada’s glaciers and having important conversations with talented artists, our incredible visitors, and exhibition partners - all coming together to make the evening truly special. Both exhibitions are presented as part of Alberta’s Exposure Photography Festival. Experience breathtaking works by Jim Elzinga, Roger Vernon, Tiffany Shaw, Leanne Allison, and Glen Crawford, on display at The Whyte Museum until April 13, 2025. Gallery 1 About the Exhibitions MELTDOWN - A Moment in Time Jim Elzinga/Roger Vernon , Turbulence , October 2023, Laminated Archival Pigment Print. In honour of the 2025 United Nations International Year of Glaciers' Preservation, MELTDOWN showcases a powerful collection of artworks focusing on glacial landscapes by Jim Elzinga, Roger Vernon, Tiffany Shaw, and Leanne Allison. This exhibition draws viewers deep into the heart of Canada’s glaciers for an unparalleled immersive experience. This exhibition marks the grand opening of Canada’s participation in the UN Glacier Year. Celebrate the grandeur and fragile beauty of the Columbia Icefield, the crowning glory of the Canadian Rockies. Illuminate the meaning and significance of what is being lost. Discover your place in the living systems that sustain us all. Etched in Ice Glen Crawford,   Glacier detail, Mt. Alan Campbell , n.d., print photograph. The Whyte invites you to explore Etched in Ice, an exhibition of photographs by Glen Crawford. The images from the Campbell Icefield and surrounding glaciers offer an intimate look at glacier ice in a time of change. Glaciers are typically found in remote hard to access locations. Over decades and centuries, they have existed exhibiting only the changes that have taken place at well, a glacial pace. This means that glacial ice serves as a living archive of Earth's history, preserving ancient layers that record the passage of time. Glaciers in the Canadian Rocky Mountains, once steadfast in their frozen stillness have come to represent all that we love about wilderness. The common view of glaciers as lovely white masses of snow and ice adorning high mountain peaks, however, doesn’t consider the reality of climate change. The photographs in this exhibition offer a view of three glaciers and an icefield in a time of accelerated change. Be sure to visit The Whyte this winter to enjoy these exhibitions - on until April 13th! Want to learn more about our exhibitions? Visit our website and stop by this winter to view them in person! Gallery 1: Photos from the winter 2025 exhibition opening at The Whyte. Photos by Katie Goldie. Back to The Cairn