Fifteen years may not be one of the most momentous of milestones, but since its doors first opened on March 15, 1992, the Bermuda National Gallery has come such a long way that it has decided to mark the anniversary by paying tribute to all of the individuals and organisations who have contributed to its growth and development thus far.

“As part of this anniversary we are going to be recognising two pillars,” development committee chairman Gary Phillips said. “One is the Government, of whose collection we are the custodians by grant, and the other is the Corporation of Hamilton which has, over the last 15 years, provided us with this wonderful facility right in the middle of town, and in the most important building outside of the Bermuda Cathedral.”

In addition, the Gallery will also honour officially 15 individuals who, based on a study of its records, have played a significant role in its development, and brought it to such a prominent position in the community.

Today, it will partner with the Corporation of Hamilton in officially opening the Par-La-Ville Sculpture Park, where two sculptures from the recently-bequeathed John Hinson Young II and Nelga Young Collection are already in situ, with others to follow.

In fact, moving more art into the public domain is very much a part of the Gallery’s future plans, thanks to the impetus provided by the Young family, whose recent donation of some 70 pieces of art, nine of them outdoor sculptures, came with the wish that the latter should form part of a museum without walls.

“It is not every day that the Gallery has such a ‘windfall’,” Mr. Phillips said. “We have always talked about the need and desire to have an outreach programme, but this was the perfect gift to allow us to talk meaningfully with the Corporation of Hamilton and other organisations about how to remove art from the air-conditioned walls of the Gallery and into the public arena, because there are some people who, for any number of reasons, don’t find themselves inside the Gallery, so we need to reach them in different ways.”

Par-La-Ville was deemed the perfect place to start because it is surrounded by facilities heavily frequented by visitors and residents alike.

“We are excited that we have developed this relationship with the Corporation of Hamilton; that it shares the dream, and in particular the Mayor, because it is clear to us that his campaign was run to ensure that the Jay Bluck’s vision never died. He has also seen the merit of continuing the relationship with the BNG,” Mr. Phillips said.

Indeed, the late Mr. Bluck’s passion for art and the establishment of the BNG as a national art museum was key. As a member of the steering committee, it was his drive which led to John Kaufmann’s concept for a gallery in the east wing of City Hall becoming reality.

When, following negotiations between the committee led by Dr. Charles Zuill and the Corporation, a lease was signed for the space in 1988, Mr. Bluck took a businessman’s approach to moving the project forward.

“Jay was the one who really took the process from being a good idea to reality,” BNG director Laura Gorham said. “He told the committee of mostly artists that they must put together a business plan and get it done, so we really do credit him, as the visionary and the man who articulated the dream, while making it happen.”

However, the original spur that set the wheels in motion for a National Gallery was the donation to the people of Bermuda of what is now known as The Watlington Collection. In his will, the late Hereward Watlington specified that his gift was predicated on the paintings being housed in a proper gallery with world-class storage facilities, including climate, light and temperature control, and which would also make possible the exhibition of valuable works of art from international galleries of similar quality.

Built by Cooper & Gardner, the museum has five exhibition spaces, one of which, the Ondaatje Wing, opened on April 16, 1992 — one month and one day after the BNG, thanks to a successful appeal for an “angel” to finance the conversion, which came in the form of (now Sir) Christopher Ondaatje, who has subsequently opened other gallery spaces in his name in London and Toronto.

Mrs. Gorham, who has been on the steering committee since 1986, became a full-time staffer in 1991. Chris Wineinger was hired as the first administrator, to oversee the Gallery’s capital campaign. From an original budget of $350,000 and one employee, today the Gallery’s annual budget has grown to $900,000 and the staff numbers seven, two of whom are “supposedly” part-time.

They include development director Gita Blakeney-Saltus, education director Judy Wong, membership secretary Tina Stovell, and bookkeeper Ellsworth Lambert. The present curator, David Mitchell, will be stepping down to return to his former career of fine furniture-making, and he will be replaced by registrar/acting curator Sophie Cressall.

From inception, volunteers have been an invaluable, and indeed the more than 100 of their ranks are an indispensable part of the Gallery’s function.

“We could not open our doors in the morning without them. They are absolutely crucial to the running and operation of the Gallery,” Mrs. Gorham said.

From inception the BNG, has striven to fulfil its original mission, which is to promote, benefit and advance the visual arts in Bermuda through the creation of a collection of significant artworks, both from Bermuda and worldwide, as well as creating a facility in which such works can be cared for, researched and interpreted for the public.

“When we opened, we not only wanted to be a place to have wonderful exhibitions but also a place where the entire community felt comfortable and engaged,” Mrs. Gorham said.

Thus in the past 15 years, it has held not only hold ethnically themed art exhibitions reflecting the diversity of our community, such as African, Caribbean, Portuguese and British, but also highlighting Bermuda’s history, commerce and culture, as well as showcasing its artists in individual and other categories, such as the Biennial. International exhibitions have also served to widen resident appreciation for other cultures and art forms.

Education programmes for adults and children are a big part of the Gallery’s wide-ranging mission to reach out to all segments of the community. These include the weekly lunchtime lecture series, the PartnerRe lecture series, Ruth Thomas’ heritage ‘Mosaics’, entertainment, jazz nights and concerts. It also encourages “crossover” programmes with such organisations as the Bermuda Festival and the Bermuda International Film Festival.

The Gallery is particularly proud of its highly successful interactive art programmes with the Island’s public and private schools, a partnership a former Minister endorsed and committed the Department of Education to continuing.

“I think we have one of the finest educational programmes of any institute,” Mrs. Gorham said.

Looking to the future, the Gallery plans make the City Hall facility even more “meaningful” to the public.

“We are not going to rest on our laurels,” Mr. Phillips promised. “(The 15th anniversary) is a recognition of a platform, and it also represents an opportunity to make an even greater statement about the role of the arts in Bermuda, the role of the Gallery, and the things that we need to go forward.”

As always, financing is an issue, so seeking endowments, increasing membership, and encouraging present members to increase their financial contributions through upgrading are all on the cards.

Acknowledging the loyal sponsorship of corporate and private individuals, including Dennis Sherwin and others who have made the gallery an admission-free facility, plus the very generous endowment from Mr. and Mrs. Young, Mr. Phillips said the Gallery would be discussing more endowments with various parties in order to reach a viable “comfort level” for its future operations.

He also envisaged endowing various “Chairs” linked to senior staff and named after the donors.

The “enormous” gift of the Young Collection is also catalyst for ensuring that the Gallery lives on in perpetuity, and Mr. Phillips admits it presents a number of previously non-existent challenges, so decision-making has become more critical.

Meanwhile, with just ten renewable years left of its 25-year lease, the Gallery is currently holding talks with the Corporation on the issue of space. At present, every nook and cranny of the gallery is occupied, and more room is badly needed.

“We think that within the next three to four months you will hear something about those talks, and about how the Corporation and the Gallery might partner on greater space. It is no secret that we need more,” Mr. Phillips said.

On the issue of support for the arts, like so many others Mr. Phillips viewed the fact that “so many other initiatives and areas seemed to get the attention of the community over the arts” as giving the BNG an even greater responsibility and mandate for ensuring that it remained relevant to the community so people would support it.

“No country can move forward independently if there is no celebration of its culture, which is manifested through the art we are able to present,” he said. “The most important thing about the great civilisations, such as the Roman and the Greek, is what they left behind. What we are doing today is building a legacy that cannot be ignored or underestimated: the power of celebrating art and its meaning in the community.”