Contributed by Jonathan Stevenson / In Haskell Wexler’s iconic 1969 counterculture film Medium Cool, John Cassellis, a cold-eyed TV photojournalist, has internalized the notion of television as a “cool” medium in the McLuhan-esque sense of requiring viewers to search for context in order to understand what they are seeing. When covering the shockingly violent 1968 Democratic National Convention in Chicago, though, he finds it increasingly hard to stay objectively aloof. If Cassellis succumbs to passion, Andy Meerow finds a more nuanced solution in the realm of painting – also a relatively cool medium – manifested in his gratifyingly quizzical work in “Slanted Andy” at Derosia. Meerow doesn’t either opt out or surrender; he just takes a sidelong view.