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Memories of Kotuku sinking in Foveaux Strait still vivid 15 years later


The Fishing boat Kotuku is brought to the surface at Port William, Stewart Island in 2006.
Fifteen years after fishing trawler Kotuku capsized in Foveaux Strait, widow Judy Hayward will visit the cemetery and gather together with some of those involved in the tragedy, just as she does most years.
Hayward’s husband Ian (known as Shorty) was one of nine people aboard the fishing boat when it was hit by a rogue wave on the afternoon of May 13, 2006.
Three people survived and swam to nearby Women’s Island but Leslie Christian Topi, known as Peter, his daughter Tania Marie Topi, his two 9-year-old grandsons Shain Jack Topi-Tairi and Sailor Roy Trow-Topi, Ian “Shorty” Hayward and Clinton Allan Woods died. ....

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Dave McKenzie's Elegiac Reminder of Cultural Debts


On the occasion of McKenzie’s Whitney show, Shiv Kotecha writes revisits
Old Man/Sarcophagus (2013)
Dave McKenzie’s videos, performances and sculptures make concrete the drama of a mind as it calculates the severity of loss. They are apostrophic enactments, or they almost are. For
Old Man/Sarcophagus (2013), the artist returned to Berlin’s Neues Museum to see if he could reproduce an episode he had witnessed there before: an old man resting against an empty, 4,000-year-old Egyptian tomb (in essence, a human-shaped object for rest). Compressing the artist’s daylong visit into a three-minute montage, the video surveils several individuals who pause to admire the relic from a distance. (The man from McKenzie’s first encounter does not return, as you would expect.) The final minute of the video depicts the artist at home, with the camera hovering above a well-domesticated kitchen sink, itself a tomb-like container. McKenzie’s hands enter the frame, and he was ....

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Colby Chamberlain on the art of Dave McKenzie - Artforum International


Colby Chamberlain on the art of Dave McKenzie
Bobblehead from Dave McKenzie’s
While Supplies Last, 2003, performance, poly-resin figures, 7 × 2 1⁄2 × 2 1⁄2 .
“I KNOW YOU ARE DAVE, but who is Dave?” Sixteen years ago, in these pages, the artist Glenn Ligon recounted how a stranger once posed this question to Dave McKenzie’s face. Or rather, she posed it to a papier-mâché approximation of his face, which McKenzie wore while he handed out bobblehead figurines of himself during an opening at SculptureCenter in New York. Ligon floated a few possible rejoinders: Dave was a dancing machine; Dave felt your pain; Dave wanted to be like Mike; Dave believed he could fly; Dave was a dime-store Jesus, for whom made-in-China tchotchkes were the bread and wine of a secular communion. These musings riffed on McKenzie’s various attempts to embody public figures, such as when he marched through Harlem sporting a rubber mask of ....

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