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We've just taken off our robes

and two couple from Canberra

comes out to visit the Yass

valley and have a look at the

railway station turned the

corner here and here was five

guys with no gear on. If you

could have got a photo of their

face and put it on the calendar

it would have sold plenty.

Hello and welcome to Stateline

I'm Phillip Williams. And

you'll have to wait a little

longer to find out why everyone

in Yass took their clothes off

- well, nearly everyone. But

first the very private Ron

Radford was appointed the

director of the National

Gallery over a year ago and

since then he's managed to

avoid controversy and largely

the media. Born and educated in

Victoria he had his skills as a

director appointed at the

national art gallery. He

recently announced something of

his vetion for the NGA which

includes revamping the space

for Australian art and putting

it at the heart of the

collection. His media shyness

gives the wrong impression. Ron

Radford was a generous and

animated host when I joined him

at the gallery for his first

extended television interview.

Ron Radford laughs a lot. He's

going to need his sense of

humour with big plans without

Budgets to match he's embarking

on a treacherous journey in the

deadly world of arts politics

lost some where in the

parliamentary triangle. You're

almost an unnatural phenomenon

in a sense here you are a National Gallery direct drektor

and there is virtually no

controversy about your

apointment and universally

praised. What's going wrong?

They'll get on to me in the

end. I'm in my honey moon

period. Some peopled a no honey

moon. They went straight to

divorce. I've been around for a

long time. What is it a job

that is almost a poisoned

chalice has been criticised to

the grave virtually? Yes, but

they've been vindicated too.

James Morrison was criticised

for buying blue polls and other

things and what a great triumph

those things and the same with

Betty Churcher. They were brave

and right. Ron Radford had

ideas too, big ones - a

doubling of the gallery space.

Putting aung, Asian and Pacific

art pride of place that in a

building designed of 1,000

works but serving a collection

130-times that size. The scale

of the down stairs gallery is

far too high for any sort of

art. Very little art survives

that huge scale. On the other

hand the ceilings are too low

and Australia is cramped into

these low corridor-like spaces.

So moving now into the latest

colonial works mainly from

Victoria and we've used this

darker historical colour and we

are moving into a corridor

again with low ceilings and you

never know quite when this

corridor is going to end. In a

sense, it doesn't really

celebrate the various periods

of Australian Hart. It is an

odd sort of space for our

Premier works isn't it? Yes,

indeed. Here you get glimpses

of the architecture which I

rather like, the celebration of

the concrete and so on.

Architecturally it can be very

interesting if often a little

bit harsh for some of the works

of art. Let me put you on the

spot. What do you actually

think of this building? Well,

to be fair it was design ed

before the collection arrived.

So it had to be designed in the

abstract. So wasn't designed

for the collection. Obviously

now that we have a clebtion,

the collection doesn't

building. One change may not necessarily fit with the

please everyone, the European

master also be farmed out to

state galleries with

established collections. There

are only 20 of them, some are

very good quality and it gives

the state galleries like

Adelaide, Melbourne and Sydney,

who have been clebting masters

for some time that have got not

enormous clebtions compared

with European and American

collections of the same area,

gives them a better chance to

give the history of European

art with the addition of our

works. Whereas they were a bit

of an orphan collection here.

20 works or less than 20 works

covering 500 years of European

art was pretty lame.

So this is the entrance, but

the new entrance will be over

here as will be the Aboriginal

galleries. Straight ahead would

be Ned Kell series. Over here

we have late 19th and 20th

century international art.

Circulation is a bit of a

problem. People get lost in the

building we need to sort that

out and people don't know where

to enter the building. So it

has a pretty un satisfactory entrance. What is wrong with

this space at the moment?

Well, everything. Where do you

want to start? It doesn't have

clarity in the lighting. It has

many light fittings that need

to be replaced. It has a jumble

as you come in here, you don't

quite know where to go. It It

just doesn't feel like a grand

entrance to a grand building?

No. But that will all

change. Big changes? Yes and

it will all take time. It will

take time. Not to mention

money? Not to mention

money. Okay I won't mention

money. Should we get a little

relief from these 2,000

children here and go to the

other part of the gallery which

of course is the culture

garden? A beautiful space here

fantastic sculptures. If you

are inside the building you

wouldn't know it was here? We

see people walking along here

and saying how do we get out to

the beautiful garden and see

these fantastic works. Yet

they're not sort of easily

accessed? No, we need to find

a way to get people out into

this garden. Is that part of

the plan? Yes, yes in stage

two. My office is up there, if

there is ever a tense moment I

just have to open the door and

look over the balcony at this

lake and beautiful garden. That

calms you down? Guaranteed. Guaranteed.

There are plans to extend the

garden over the car park which

will be built underground and

make access between the gallery

and the garden easier and more

obvious. An integration fusion

of landscape, light and

creativity, the only missing

element is money. It's up to us

all to convince the Government

that the asset of the $3

billion collection is not being

properly used by the people of

Australia. It is true that we

do send exhibitions around

Australia but we need to

celebrate our collections here,

celebrate our own country,

celebrate the cultures of our

nearest neighbours. I think

when there is such an asset

when we have such brilliant

things I think it presents any

Government, I think, with an

opportunity to do something

really wonderful. Art and

politics aside Ron Radford left

a comfortable job running the state gallery in South

Australia for the uncertainties

of a city not universally

embraced by outsiders. But the

common complaint is that

Canberra has no soul, it is

cold, it is miserable and it is

full of miserable cold public

servants. Well I'm a miserable

cold public servant myself. I

walk to work and there was only

four days in the whole of

winter that it was too wet to

walk. I don't think that's

bad. When he gets to work he

really gets to work. Cosmetic

changes already evident. This

is our early colonial gallery

which we've just painted gold.

Ite it's a regeneral si colour

and reframed a lot of the

pictures in period frames.

Particularly this one which

we've just claimed from the

eldest collection. What is it

about him and his art that

appeals to you so strongly?

He was of course the best

trainnd and had an English

reputation before he came. He

captures the Australian light

and also the Australian

vegetation. He did it as early

as the 1830s. We have a couple

more examples here. Yes, this

wonderful one of Diana's bath

of the Aborigines and there is

one over here that we acquired

a couple of years ago. Notice

that we like to show colonial

paintings with colonial

furniture and sculpture. So if

we get the original framing,

furniture, cullenure it give -

sculpture it gives an idea of

the period and not just of

individual paintings. This

small gallery, rather too small

was devoted to the golden room

of Australian landscape

painting. It has some of our

favourite pictures by street,

Roberts and Condor. This is the

impressionist pictures, the

pictures people love the most.

We liken much area spacer this.

We've called it golden, of

course, for the great period

that it was. And it glows as

well, doesn't it? That's

right. That's right. Constantly

this word we come back to this

word space. Space is

expenseive. How can you

actually afford to build the

building you really need here?

Well, um, the building itself

was a very expensive building.

And if we add to it, like

double the size or more than

double the size it certainly

would not be as an expensive

building than the original

building with precast concrete

and so on one can build much

cheaper. But with a $3 billion

collection, really one of the

nation's great assets it is

terrible to have it stored

away. We want to celebrate the collection. Particularly our

own culture and the culture of

our nearest neighbours but also

in the refurbishing to

celebrate our international

collection, our international

modernist collection. It is

after all our 20th century

collection the most important

20th century collection in our

region. So that has to be

celebrated as well.

While the total redevelopment

of a national institution

without a clear commitment from

the Government may appear

daunting, like good art

perseverance, patience and perspective are handy


Will this in a sense be a

personal measure for you of

your success as the gallery

director to get this place in

essence, totally redeveloped?

Well that is the sort of plan

and it will take a number of

years. Roam wasn't built in a -

Rome wasn't built in a day and

this building wasn't build in a

day it took a decade. It will

take time and I hope people

will be patient. Will you see

it out as the director will you

be here? I hope so, I hope so. But nothing is guaranteed

in life. Especially in the

arts? Especially in the arts.

There are few jobs in which

one person gets to shape the

cultural treasures of a whole

nation. Breathing new life into

the Australian and regional collections, redeveloping the

buildings and surrounds,

bringing light and flow to dark

spaces. The word ambitious

hardly seems adequate. This is

a national institution of great

significance. We've got to get

it right. We can't make a mistake

mistake on this. If we do, we

live with it for decades and

decades and decades and

decades. The building itself

has many challenges even though

it has many many remarkable

features and is part of our

cultural landscape. But we've

got to embrace it, we've got to

be able to expand it

sympathetically, sympathetic to

the works of art and

sympathetically to the building itself. Casting forward five

years hence, what will you

regard as a successful tenure

for you? Whether we've added

to the collections that I've

said that we should of our own

region with really major works

and we have added the

Australian galleries. And the

front entrance. And the front

entrance. And then? Gosh,

that's a lot. I'd be quite

happy with that. Thank you very much for your time. Thank you

very much.

Ron Radford and his vision for

the National Gallery. Now over

to another major cultural

institution, a very arty event

is taking place. In Yass as we

speak this programme is being

broadcast live to an elite

gathering at the soldier's

club. They've come together for

the launch of a significant

work of art and a very

different side of the town is

on displace. In fact it is

collective backside to raise

money for local cancer

charities this is Yass as

you've never seen it before.

We've got about 7,000 people,

population. And everyone likes

to help out. It's a great

little's the

friendliness and it's just got

a lovely feel about it. You

walk down the street you always

find someone you know to have a

yarn to and everybody's just

there to help each other out.

Just great spirit that is what

Yass is all about. It's a town

with a great spirit.

I've been harbouring this

idea for about five years and

it's something they've wanted

to do for a particular charity

and CanAssist came along and it

was the perfect opportunity to

make money for families

affected by cancer in Yass.

There is 120 people involved in

the can kalen dar who are fully

naked or appearing to be naked.

We've just taken off our rods

and two couple from Canberra

coming out to visit the Yass

valley and have a look at the

railway station turned to

corner here and here was five

guys with no gear on. If you

cold have got a photo of their

face and put it on the calendar

it would have sold plenty. How

hard was it for you to get

nude? Extremely hard, yes, not

hard at all. We did the Magpies

which is the local league team.

We did them in their club house

so they're all sitting around

the bar and we had them

strategically placed on bar

stools with their bottoms to

us, naked and two serving

behind the bar with the beer

and we made sure that no-one

else was in the pub at the time

sor so we thought and this poor

guy, this traveller from Wagga

he was playing the pokies and

he didn't see him and he came

out from the poker machines

with his jaw on the ground. It

was a bit of excitement and by

the time we finished our ear

row biks and Mandy had the set

up there was a lot of fun and

lot of laugh and it was well

worth it and we knew it was for

a good cause. We weren't forced

into it were we? It was

fun. They all agreed. Just

behind us there is a ring where

they practice for their horse

roping events and stuff and

there must have been about four

or five 16-year-old girls in

there they don't think they

were too impressioned apart

from that it was fantastic.

This clearly demonstrates what

sort of a community this is. A

great community, they don't

take themselves too seriously,

they take their community

responsibilities seriously and

they're a bunch of great

sports. Yep 175 now. 176, here.

179, bid 179. It was pretty

cold as I remember, pretty late

in the afternoon, a breeze

blowing in the east straight up

your shorts. What shorts? It is

exciting for Yass and if it has

a ripple elsewhere it can only

be good so yeah. Would you do

it again? Absolutely. Are you

asking me? There's a few things

mentioned as you wander down

the street on Saturday

afternoon or morning a few of

the locals have a jibe about it

but they're in it as

well. Would you do it

again? For sure, I don't mind a bit of nudity so it will be


It was cold, it was freezing.

It didn't do us any justice I

don't think. No it was good.

I was making sure I was

there. It was enjoyable, yeah,

different. Yeah it is a good

cause, so yeah, we gave it a


The girls that put this

together should be very very

proud of themselves and the

chunt at large because so many

people participated. It was an

absolute hoot. Car loads of

girls turning up and coming in

getting undressnd and it was

helpful every man for himself

up to Hayvale and it was

great. It was lovely to have a

lot of the women have no

inhibitions about their

bodies. Because there was so

many of them. Not enough daffodils. A really interesting

group of women that have been

together before doing relay for

life. We are back together.

Some of us aren't friends in

normal circumstances we have

our own outside groups and

we're suddenly back together

again, some had primed a couple

of champagnes to get the nerves

down and then just set in the

hay and some didn't take their

gear off. A couple didn't

because they didn't want to and

one or two weren't well, but

when you're dog it for that

you'll do anything. The cause

is just so worthwhile. I think

that made us really close buzz

there had been some that had

gone through, two or three with

cancer and that sort of

thing. In the group that had

cancer. Every council should

have their project similar to

this because it is for a great

cause. Every town has cancer

and Yass is no different.

I happen to have a bit of flak

from my wife she said she

doesn't want my backside

showing to the public. We had

two shoots the first was in

there with the cool rooms it

was quite cold. It wasn't very

hard because we're all pretty

close here, but not that close.

Couldn't get a wax at short

notice either so that was a bit

of a shame. We've already had

people that want to be in the

next one that say are you doing

another one, can I be in it?

Which is fantastic. The amount

of people which said dam I wish

I had have gone in that. It is

a 16 month calendar. It will

happen again and there will be

people queuing. I don't see it

as nude. Everyone is covered

up, it is done so tastefully it

is not nude. It is in

comparison in come parson to a

normal photo. Don't you take

those sort of photos? Family

photos? Not often.

The whole town of Yass it's

always been a wonderful town

and for those who come here

you're made to feel at home

from day one and as I say this

effort for this calendar clearly demonstrates the spirit

of this town. It is a good


Kelly Charls produced that

story. She kept her clothes on.

In the spirit of things I am

now totally naked under this

suit. The calendars can be

ordered via the internet that

web address is on your screen.

We'll have a link from our

website on Monday. Earlier

today a new exhibition opened

at the national portrait

gallery. This one is called

glossy too, faces from

magazines of today by some of

the world's leading

photographers the pictures show

the famous and the beautiful

just as you'd expect from a

good glossy, so I'll leave you

with some of them and see you

at the same time next week.

Goodbye.Captions by Captioning

and Subtitling International.

This program is not subtitled GIRL: Which one is it? That one there.

WOMAN: In the biggest gamble of their lives, John and Kim Burton Race have paid ?250,000 for a 20-year lease on a struggling restaurant in Devon. JOHN: God knows what that is. KIM: Look at the filth on there! They're leaving the pressure of running a stressful London restaurant behind and, together with their six children, they're trying to discover the recipe for a slower, saner, more balanced way of life. (Children yell) SHUSH! SHUSH! SHUSH! This week, Kim discovers a new side to herself. Maybe I can come on your next job with you. And John faces up to the reality behind their dream. So, now it's official. For the next 35 years, I'm broke. THEME MUSIC