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(generated from captions) maximum - 17. Then a fine sunny again for Sunday. Virginia, coming up just like the banksia Virginia, a bonzer weekend

Rose. See you Monday: Isn't it you beaut, go, a recap of our top stories - indigenous leaders have cautiously welcomed the Prime Minister's rek as I recalliation plan, but they they still deserve an apology for past wrongs. services have been held Australia and Bali to fifth anniversary of the bombings that killed more fifth anniversary of the

200 people. That's ABC Stay with us 200 people. That's ABC News.

with Philip Williams. great weekend. Goodnight.

CC

Stateline. Will Williams. Coming up glorious celebration as the artworks projected on National Gallery turns 25. The of the gallery Monday just have to be seen both in reality program. We will both in reality and here on the

gallery's history through a severies of four directors - we've un severies of profiles on the

unearth add gem and James Mollison way 1974. But first , ever the tragic death of Allan Osterburg who died after in the Canberra waiting room, other horror in the Canberra Hospital

stories have emerged. The men you're about stories have emerged. The two

men you're about to hear from both stress most of their treatment was excellent but the failures could have cost failures could have cost them dearly. The snapped ice hockey is a reminder of the June, the worst day of life. 35-year-old Chris was at the Phillip ice skating life. 35-year-old Chris Grahams

rink the net at high rink when his stick caught in

the net at high speed. The stick went into the padding of my stomach, or the padding that was on my stomach and it me off the ice and sort of true me over the corner of the And I tore a whole in the me over the corner of the net.

internal wall of my stomach all sorts complication internal wall of my stomach and

followed all sorts complication s several oferations and weeks in followed from that. After

hospital, Chris hospital, Chris Grahams was home feeling the worst was hospital, Chris Grahams was at

10, he was back at the Canberra behinds him but, on September behinds him but,

Hospital emergency who looked at me. But the nurse I got was not quite as who looked at me. But the next

good and she was really the first bad experience I've had with didn't believe really that

was sick. She was very of the view that - in fact was saying to me that I was of the view that - in fact she

that I was hyper vent laelting and haik making it worse calm down. She was just incred was a panic attack and I should

ibly rude to the point where burst into tears. I was ibly rude to the point where I

genuinely worried - I knew something was wrong She made me feel like such an idiot and such a strain on the health system that I didn't represent the following night when I but much worse. And I was when I had the same symptoms

doubled over against a wall. could barely move and I doubled over against a wall. I

did think I was in barely breathe. At that point I

trouble. But I wasn't going did think I was in serious

represent, not to be treated trouble. But I wasn't going to the way I had been treated. I just felt just felt like such an idiot and I didn't want to put more strain on had thus far saved my more strain on a system that

life. Even though at you feared the poesh that could die. Yeah, it sounds you feared the poesh that you

pretty stupid, doesn't it. exactly. Two weeks later he was pretty stupid, doesn't it. But

diagnosed with thrombosis in his leg diagnosed with a deep vein

of breathing problems and that didn't explain two night all of breathing problems and with all the publicity over the death of Allan Grahams wanted answers. death of Allan Osterburg, Chris

agree ed to a scan. On Tuesday, Grahams wanted answers. His GP

scans showed I embolism, which is a clot the lungs. 30% of call them, are fatal if they're that's what I had - untreat and untreat and undiagnosed and

undiagnosed. And

I had two. So I've dodged two undiagnosed. And it looks like

bullet s . At that night, did the doctor pick that the doctor didn't. The basic view was that I was - I had some muscle spasms in my chest. I was given some drugs to me I was given some drugs to relax me and eventually sent home. And I understand and I that doctors make mistakes and nurses make mistakes and occasion ally misdiagnosed. Up to that point occasion ally you will be

I Haddin incredible care and I'm keenly aware of that. on this particular night, care was very care was very ordinary. My doctor has told me I am lucky to be alive. His exact words were I've stared down the barrel of my which is a bit dramatic barrel of my own mortality,

35 it's not something you want which is a bit dramatic but at

to be staring down the barrel of. Allan Osterburg's - I'm not ready to go, and I'm either. He should sure Allan Osterburg wasn't better care and I should either. He should have got

got better care. was I was, I suspect, got better care. The difference

luckier. Luck too was on Will Brydie-Watson's side luckier. Luck too was on bride

ANU law student, but he wasn't feeling ort - fortunate when ambulance was call ed feeling ort - fortunate when a

home. My mum told them to take ambulance was call ed to his

me to me to Canberra Hospital write had been treated originally and where my specialist was they said they would prefer to take me to Calvery was close er because they were take me to Calvery because it

the only ambulance that evening serving north Canberra serving north Canberra that evening. After as a low risk paicial at Calvery, the blood

flowing. They realised flowing. They realised the blood was not going to stop either so I needed it caughterised or go into surgery. And then I was told I had to go to Canberra Hospital. He was given to options, wait two hours an ambulance or get his mother t to drive him to hospital I then vomited 500 mills of blood at one point the head doctor at emergency said we would it if you went in an ambulance. But initially they wanted your mother to drive wanted your mother to drive you to Canberra Hospital? What to Canberra Hospital? What did she she think of that? She was quite worried about it. They assured her I was low risk. But, yeah, she obviously didn't want to and we were considering

it until I actual ly vomiting up blood, time we realised it wasn't a great option. In the ambulance they were more can ual ars into my arm s to keep my fluids up to keep my blood pumping. During which I had a 15-

had a 15- 10 to 15-second seizure, due to a lack of oxygen to pulled over, put the pulled over, put the ox jean mask on and drive over to Canberra. We were told it much danger until I had much danger until I had the seizure. After seizure. After then they were quite kirned about

quite worried and my And when we arrived at Canberra Hospital emergency workers waiting for us. That seizure could have happened in the car on the way over with mother driving you if accepted that initial advice? Yeah, definitely. Have you talked about that? Yeah, we were quite amazed that - after all this occurred, looking on it we were amazed consider while my mum was driving over I could have been vomiting up blood and passing out and losing conscious ness. I felt the entire care system is stretched to limit from only having one ambulance on the which preclude ed me to going to the hospital to the hospital write could have been treated

also the availability of the second ambulance. What you say to a Health Minister that might argue, no, that might argue, no, we've made terrific improvements made terrific improvements and we have a first-class system? Certainly not system? Certainly not a first-class received was fantastic, professional. But it was just not enough funds, the system itself is stretched too thin. Before we begin National Gallery birthday celebration, here is a small taste of a story from week's Stateline. Stanhope tan says the Territory is leading the gases. But two of our eminent innocent two of the most principles are being build our houses. I see build our houses. I see a perpetuation of perpetuation of an energy guzzling society guzzling society that is just going to go on greenhouse emissions and not

them, former ANU physics head Sanderman Anderson aircraft yect Derek Wrigley have yect Derek Wrigley have 91 years living in the capital. Despite all the warning of global warming and the obvious need for energy efficiency, they they say we're terribly slow learners. This is effectively learners. This is effectively a high energy house. It's a energy use house. And energy use house. And by building this house building this house now and then if you look round the suburb, the whole suburb this type of house in they're go ing to last for they're go ing to last for some 50 years so you're in some high energy in some high energy use house. When we look at what going to happen to our and the impact this is going have on our grandchildren and so on, this is not helping. This is just doing This is just doing the opposite - it's making everything worse and it's going to do so and it's going to do so for a long time. Why is this a much better design? Because it is designed to take of the northern sun in winter time. time. And the ability to keep it out in summer. People are rushing in to buy conditioners these days because they are living in houses. They've into it and that's the problem. And if they were wouldn't need them. None of these place s these place s have solar hot water and solar hot should be mandatory because most most of your leet heating is through heating that story next week. that story next week. Now, let the celebrations National Gallery is having National Gallery is having its 25th birthday. And we put together some key moments in its history, along with past profiles of all the gallery myself Kathleen Hyland and myself Kathleen Hyland and we begin with a young Kerry O'Brien who spoke to the first director, James Mollison, director, James Mollison, for 'This Day Tonight' way 1974 when the gallery was still in a wear house in Fyshwick. When you're commissioned to create, build up, make, whatever, a art gallery, where on earth do you start? It depends on you start? It depends on your ambition and the ambition and the sort of funding you have. If funds are low and ambition is low, then you might make yourself a gallery which is for gallery which is for the gallery which is for the local community. If you're called the National Gallery in such as this, you have to work a little bit harder than up a large number of collection s all on the that there is a great deal of excellent material excellent material still available. And bring it the country has, but not before he established one of best collections of Australian art. Mollison and his becoming committee didn't just committee didn't just start the National Gallery spend National Gallery spend ing spree with 'Blue Poles'. Over the past six years they've spent about $8 million, spent about $8 million, an investment investment that has probably doubled in value. A collection that seems in congress in its house. A collection that changes from the changes from the inti from a Hans Heyson stech from a Hans Heyson stech book to a to a Andy war hole's picture. This of theatrical costumes after of theatrical costumes after we determined to put tot an Australian theatre archive - Australian costumes and designs. This was an opportunity to buy a collection of material from one of the fame yois of the fame yois theatrical companies - the Diaghilev. Sh>> z there a set of knickers here? Yes. When we're talking about master pieces while would you buy this? This is perhaps the most significant piece of recent sculpture to come our way the last 12 months. It's a

marriage between craft work sculpture because if you look closely at it you discover that this is hemp, which is used in a technique akin to knitting I'm told some part of it are croeshyed. The artist has managed to create this sem which really does have an feeling about feeling about it. As of people who are not yet

who are not yet born. The curious thing about them is they're supposed to be un living things but when we come in here in here they seem to have shifted: There's something mind boggling about seeing priceless art stored in a ware house. Well, we're pleased to be bringing the material into the country into this house in fact. Take sculpture s here, there are a number of piece s by this artist in this countly artist in this countly but generally generally the Burghers of Calais are considered to be one of the great of the great master pieces of this artist and we have two nude studies that were made in conjunction with this monument and, as well, still in its crate, the final form of one of the figures from

the figures from it. The museum person is very different from a private collector because his responsibility is just to the category of things that he likes most. If I personal preference I would be back in flor flence the 14th century but that is in which you can collect in which you can collect today. Our museum is not only about a whole range of master patients. We don't We don't attempt to be what other museums already. Are we hope we will be a kind of museums that museums museums that museums will become next. And here is the Queen, together with the Queen, together with the Duke of Edinburgh arriving on of Edinburgh arriving on the western side of the gallery. Here they meet of the of the gallery and Mrs Darling and the

Mollison. It's a long walk up those two flight of those two flight of steps to what is known as level 4. I'm told the steps are portioned told the steps are portioned to make more ease of walking. There's a link stretching There's a link stretching back more than 3,500 years. It's a pleasantly warm Canberra after several days of rain, a beautiful night for Queen to come and open the gallery. The Queen is now

signing the visitors book. TRUMP ETTING FAN FARE PLAY

S When the royal party is When the royal party is in position on the dayias, the national anthem will of course be All of my life I've engaged in art, look at arlt, talking about t art, talking about t art, trying to share my enthusiasm for art with people. But not making it. There's a Col #y78, a tiny article, says 58 mother gets top job. Bet er Churcher appointed the director of appointed the director of the art gallery of Australia, the first woman to head a State gallery. She then went on to become the director of the National Gallery in 1990. In the early days, little media attention. I think there was there was a great deal of scepticism when I came. I think that headline - 58-year-old mother of four - very downputing, really upset me actually. I laugh about it now but it wasn't funny at the time. I time. I think a lot of the staff were looking at staff were looking at me like that - 58-year-old mother that - 58-year-old mother of four, who is she coming to direct the National Gallery. It's just an un fortinate thing that happens to women. James Mollison was the same age and he was going to he was going to the National Gallery of Victoria at the time and I thought in my imagine heading a 58-year-old father of none getting top job would

would be unthinkable. Better Churcher orchestrated several major exhibitions. I forget the comedian who invented Betty bloc buster but being called Bethy and being interested in major xintion and the reason was interested in major exhibitions is I know in Australia a great slice of the history of art can seen by Australians seen by Australians unless they travel overseas. travel overseas. So the block buster in a way brings to this country pictures that can't otherwise be seen. And sometimes sets into a sometimes sets into a broader context pictures that are here in our own in our own collection so people can see them in a can see them in a broader context. '

This This is hair, human hair and it's beautifully set and it's beautifully set in glue. It's about glue. It's about words, it's about propaganda, about propaganda, it's about dialogue, it's about globalisation, it's all about all all those things that brings together. He has planted in human hair

genetically and Pacific - here geographically and British. It's deliberately confrontational. confrontational. It's about the art and that's what I want keep putting forward. If my heart wasn't it in I couldn't stick it. I just around the gallery and suddenly I feel great again. We purchased this picture year and really because of the price paid for it which was ?$7.2 million which is regarded mes of the important paint paint er for his generation. He said this was a cox to a painting called

Naples, which is an explanation of I suppose that ease of of I suppose that ease of late afternoon in a brothel, or something like that. I have a problem with the definition him being an expert in flesh colours. I find that come through to me: I'm delighted it's delighted it's controversial. Any good picture hate and we have a controversy. I am sceptical with it. But if I love it and the critics don'tics. Ice a timing issue. But I think we have an incredible selection have an incredible selection of Australian Australian art here in the gallery, indigenous gallery, indigenous and non-indigenous. We have non-indigenous. We have sought to build on what we had. The Rofer Thomas all that big rain coming

topside was an stroor picture, picture that showed and then reaching the and then crashing down. So and then crashing down. So at this top and floot see the edge, the see the edge, the mild of the painting, wre saw the water coming slowly and coming slowly and falling. This was very Aboriginal artist and difference from difference from the other Rofer Thomas paintings we had: It made it vitally important. I love the Sydney remember saying when remember saying when I introduced that painting in introducing John Olsen who introducing John Olsen who was speaking in front of it that this painting of the mid- '60s was like a jelly was like a jelly fish, it was like a paella, a map,

like a paella, a map, a radiant sun, it was like sun, it was like how Sydney Harbour feels day. It's is a picture by back from wet and foggy and into Sydney and and into Sydney and saying, "My God, this place isn't half bad. Question am criticism that you should doing AOL. I want this gallery doing AOL. I want this gallery known for the fact that it has premium works of art and premium works of art and people will come to Canberra those premium works Ron radford laughs a lot. Ron radford laughs a lot. He is going to need his sense humour with big plans without budgets to match. He's ex barking on a journey in the dd ly world of arts politic, lost somewhere in the parliamentary try angle. You're almost an unnatural phenomena where here you are there's a National director and there's director and there's no controversy about your appointment, you're universe ally praised. What's going o

wrong here? You're not playing the role. They will get on to me in the ends: Perhaps I'm still in my still in my honeymoon period. Some people had period. Some people had no honeymoon, they went straight to divorce. Oh, well, I've to divorce. Oh, well, I've been around for a long time. Why is it that, you no, in a job that's almost a poisoned chalice all those who have touched it have been cystsise ed? Yes, ed? Yes, but they've been ed? Yes, but they've been vind Keeted too. James Mollison criticised for Poles' and what a great triumph they are. And the they are. And the same with Betty Churcher. They were and they were right . It's up to us all to convince the governments that the asset of the three billion dollar collection is not being properly used by properly used by the people of send exhibitions around Australia, but we celebrate our collections here, celebrate our own country, celebrate the cultures of nearest neighbours. I think when there's such an asset, when when we have such brilliant things, I think it presents any government I think with an opportunity to do something really wonderful.

that we like to show that we like to show colonial paintings furniture and sculpture. So if we get the original framing, furniture, sculpture, it gives an idea of the period and not just What will you regard as What will you regard as successful tenure for you? Whether we've added to you? Whether we've added to the collections that I've said that we should of our own region, with really major with really major works. And that we have that we have added the Australian galleries. And Australian galleries. And the front headlines? And the front headlines? And the front headlines. And headlines. And then? Gosh, that's a lot! I'd be quite that's a lot! I'd be quite

happy with that.

week. We happy birthday. And to finish, some more of those fabulous on to the exterior twufls gallery until Monday night. The whole thing Enjoy and I will see you at the same time next week. Closed Captions by CSI

Hi, I'm Andy Muirhead, and tonight we feature everything, from bombs to books, from historical hardships to creative cabinets.

Wherever you're watching, right around Australia, welcome to another jam-packed episode of Collectors. THEME MUSIC Hello, my friends, how are you? Welcome, Andy. Very good. Well, two worlds collide on Collectors tonight. That's right. The art world meets the collecting world,

and the result is some very collectible art. I collect things that aren't intrinsically valuable in themselves, but somehow have a sort of a story that I want to tell about them. And Justin steps back in time, in a truly moving museum tour. This is the Jewish Museum in Sydney. It's dedicated to the Holocaust. Naturally, it's about death and horror. But the collection we're about to see, is about survival. Children surviving.