The historic nature of this election has echoes reaching every facet of our society, probably in more ways than we can understand in the present. Art has always been a reflection of society, and the spur of inspiration has rendered beautiful results.

In an era where art can no longer be categorized in movements (see By Eleanor Heartney’s “The Visual Arts: Blurring the Boundaries”), Ms. Aleksandra Nowak’s collection at CFM Gallery is a refreshing throwback to a classic medium and timeless temperament.


When the Museum of the Moving Image launched landmark website“The Living Room Candidate” in 2000 it was met with critical acclaim. At the time the site, which neutrally showcases historic political commercials from 1952 through 2008, was a fascinating discussion for the sophisticates lounging in bar stools on the election’s eve. But after eight years of G. W.

When Nikola Tamindzic trudged into the East Village coffee shop, shaken by the sudden May showers, I was surprised that I found him to be, of all things, elegant. Tall, with a carved face, Serbian born Tamindzic wore a camera around his neck and indistinguishable attire. He shook off the rain and smiled. He is less like the “taller, rather more mobile version of Larry Flynt” that he once was quoted describing himself as and more of a gentle giant. He seemed sincere.

Tamindzic is probably used to defying expectations.

The Deitch Projects opened on 76 Grand Street in 1996, before Al Gore’s invention ‘the Internet’ exploded and iPhones re-established the technological marketplace. It was a time when politicians’ infidelities were still notable, sitcoms were profitable, and the taste of the future was indeed palpable.


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