Australian experience supports gun reform
TREASURY advised the Government, before Parliament’s gun buyback legislation, that there was no evidence a buyback would reduce future gunrelated death and injury: no doubt the gun lobby will seize gleefully on that.
But surely noone expected incontrovertible evidence: it can’t be researched with doubleblind controlled trials. Australia’s experience is suggestive, though. In the 14 years before the 199697 postPort Arthur semiautomatic buyback and other restrictions, it suffered nine indiscriminate mass shootings that killed 80 and injured 70 people. Since then it’s had three such shootings (eight killed, eight injured) in 23 years, raising the possibility that the unavailability of semiautomatic weapons may have discouraged individuals from attempting mass shootings.
And if semiautomatic weapons aren’t available it means that, if someone attempts a mass shooting, fewer people can be killed in a short time. That advantage should be obvious even to those immured in the ivory towers of Treasury.
In fact, there is reasonable evidence from Australia. In the seven years after the changes, Australia’s firearm homicide rate dropped by 42%. It had already been declining, and low numbers mean this wasn’t statistically significant. But the firearm suicide rate dropped by 57% (statistically significant), and nonfirearm suicides didn’t increase to compensate.
Gun law reform almost certainly has saved lives.
A week ago it had rained overnight (25mm, which watered Friday’s vegetable garden seeds and seedlings in well) and it was too wet underfoot to do much outside, so getting the vacuuming done in the morning meant the afternoon was free for Civis to attend Mary Kissler’s talk about the Frances Hodgkins travelling exhibition at the Dunedin Public Art Gallery.
And arriving early would mean one could see ‘‘Style and Substance’’, the current exhibition showing paintings, prints, embroidery and ceramics, in a number of categories, drawn from the DPAG’s collection, as well.
Well, the idea of seeing it, even superficially, in 40 minutes turned out to be a bit of a joke, but there was time for a quick look at two rooms of ‘‘Style and Substance’’, reminding Civis, once again, of the depth and breadth of the gallery’s collection. Must come back, with more time, to see the rest. Meantime, upstairs to the Hodgkins. Ms Kissler, senior curator, Mackelvie Collection, International Art, Auckland Art Gallery Toi o Tamai, introduced a large group to the ‘‘Frances Hodgkins: European Journeys’’ exhibition, which ‘‘brings together works from New Zealand and around the globe to explore the artist’s place in 20thcentury European art . . . examining the influence of location on her development as a modernist painter and the notion of travel and journeying as a source of artistic inspiration’’. It’s part of the Auckland Gallery’s Frances Hodgkins Project, which includes an online catalogue raisonne.
Ms Kissler has travelled widely in Europe and Morocco, tracking down where Frances Hodgkins travelled, analysing (with advice from locals) how and what the artist had painted, and, in a little over an hour, she was able to demonstrate something of the development of Hodgkin’s work and the complexity of her art.
An intriguing talk, and an exhibition that blows the mind (and Civis’ previous assumption of knowing something about Hodgkins). The number and variety of the works in the exhibition was almost unbelievable, and Ms Kissler’s explanations fascinating. She suggested those wanting to understand the paintings should visit the exhibition several times, allowing time to look closely and repeatedly at them, especially those from her later periods.
Civis would add (as Ms Kissler can’t stay here to escort visitors round the exhibition): take with you her book, Finding Frances Hodgkins, which describes her journeys and exploration of Hodgkins’ subjects, such as her discussion of Monastery Steps (193335) (and how Rosa was able to identify its component parts) and Spanish Shrine
(193335).
It’s an impressive show, and, as Ms Kissler suggested, worth repeated visits. And have a look at ‘‘Style and Substance’’ too.