The art gallery of New South Wales has only had 10 directors since it was founded in the 19th century. All had been men until this year, when French-born Australian maud page was appointed as custodian of the cultural institution.
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00:00Moor Paige, welcome to Stateline.
00:06Thank you for having me.
00:08Well you're the first female director in the gallery's 154 year history.
00:13Why has it taken so long for a woman to be appointed?
00:16Well look that's a good question and I guess I can't answer that.
00:19All I can say is that I'm absolutely thrilled to be the first woman.
00:23The art world has been a boys club but so has every club.
00:27Politics has been a boys club too so we're not out of step with what has been happening everywhere around the world.
00:34It's just how it is but I am really pleased that there has been a shift.
00:38You previously served as deputy director. How rare is it for someone internal to be selected?
00:44Well I'm glad that you asked because there is a ceiling to the deputy director and usually deputy directors do not get director jobs.
00:52A global search was undertaken for the role at considerable expense.
00:56Is it really necessary to look offshore for people to lead Australian cultural institutions?
01:01Well look I think that that's the question to ask the public.
01:04Is it really necessary to always look offshore?
01:07In my case there was an international search but to be honest I'm really pleased that there was.
01:12Because then I do know that I was picked with huge competition.
01:17And we all know kind of external things are shinier, the diamond is shinier outside.
01:22So I'm really really pleased that in this occasion the committee chose to look within.
01:27What's been your biggest challenge in the role so far?
01:30My biggest challenge in this role is really I want the urgency almost of a politician.
01:36You know I've got three years to really make a difference and I know that the first few years, even the first couple of weeks and months are really really crucial in setting the flavour and setting the ambition.
01:50So can we expect to see more Indigenous art under your tenure?
01:55I think you can expect more focus on First Nations art and how those conversations occur globally.
02:03And really it's a point of difference in Australia.
02:07Like when the world looks at us, unfortunately they don't look at all our array of amazing artists but they do look at the Indigenous.
02:15Because that's never been seen before and it's constantly renewing itself.
02:21Now the Australian Financial Review reported that in the fortnight after you were appointed, two senior executives resigned.
02:28The report suggested a rift had developed. Is that true?
02:33As you say, the newspaper reported a couple of people leaving and I would hope that that happens too.
02:38We're a huge institution and we need change.
02:42So when people choose to leave or different circumstances occur, I think that's a natural thing for an institution of this size.
02:49So are the reports then of tensions at the top false?
02:54Look, there's always discussions at the top. A creative environment is one where there's strong discussions.
03:01Turning now to a broader issue in the art world.
03:03Australia's selection for next year's Venice Biennale Khaled Sabsabi was dropped by Creative Australia
03:09after concerns raised in the media and Federal Parliament that some of his past work had glorified terrorism.
03:15Why is the Albanese government allowing a person who highlights a terrorist leader in his artwork to represent Australia on the international stage at the Venice Biennale?
03:28I agree with you that any glorification of the Hezbollah leader in Israel is inappropriate.
03:35Do you think the decision to drop him undermines the principle of artistic freedom?
03:40Look, I think obviously they need to look at their processes and I understand that there's a review going on in terms of how Creative Australia made their decision.
03:50I can't tell because I don't have all of the information.
03:53But what I can say is that Khaled Sabsabi is an extraordinary artist and a very thoughtful one and a very senior artist and very respected.
04:03On principle though, should there be any kind of political or otherwise interference in art?
04:09Everyone has an opinion about art so there's interference with art all the time.
04:13And so I think it's up to us as institutions and as leaders to make sure we navigate that very carefully to bring people on board when we need to and to have the difficult discussions when they're needed as well.
04:25Now I know you're only a few months into the role so it's probably too soon to be thinking about your legacy.
04:30But can you give us any sense of the stamp you'd like to put on this place?
04:34I want to make sure that on every single floor there's something for families to do and that it's intergenerational and really exciting.
04:42When you're walking through these doors, I want you to feel that it's palpable, that you've got something for you and that you feel absolutely welcome.
04:51Ward Page, thank you for your time.
04:52My pleasure. Thank you.