Exterieur van Glacier House before 1897

Curator: So, here we have Walter Dwight Wilcox's "Exterieur van Glacier House," sometime before 1897. This photograph on paper feels very much of its time, doesn't it? Editor: It does. It has a stillness, a composed quality. Looking at this scene, it almost romanticizes the experience of encountering civilization amidst the wilderness. What do you see in this piece, beyond the surface aesthetic? Curator: I see a carefully constructed narrative about progress and control. The Glacier House itself becomes a symbol. It speaks to the colonial project of taming and domesticating the landscape. Consider how the railroad brought tourists—often wealthy elites—further into Indigenous territories, disrupting existing ways of life. This image, in its promotion of this remote hotel, directly participated in the erasure of Indigenous presence. Editor: That's a powerful point. So the seemingly innocent depiction of a building nestled in nature actually carries significant social and political implications? Curator: Precisely! The photograph aestheticizes the landscape while simultaneously signifying its commodification. Wilcox's lens frames nature as something to be consumed and possessed, divorced from the lived experiences and traditional stewardship of Indigenous peoples. Think about the resources needed to construct and maintain the hotel itself. Whose labor was involved, and at what cost? These are the questions we should be asking when engaging with historical landscapes. Editor: It's definitely changed the way I see the image. I'm much more aware of the story *behind* the postcard view. Curator: And recognizing those layers is vital. Art like this is rarely just about what’s immediately visible. Understanding the historical and cultural forces that shaped its creation offers a richer, more critical understanding of its lasting impact.