Professor of 20th-Century Art
Professor Romy Golan came to the Graduate Center after having taught at Vassar College and Yale University. Recurrent themes in her work are non-synchronicities of art and politics, reversals between progressive and reactionary art, the display of monumental artworks in world fairs and exhibitions, and questions of transmediality. She is currently completing a book on Italian Art in the 1960s structured around two non-linear forms of temporality: the flashback and the eclipse. At Yale she received the Samuel and Ronnie Heyman Prize for outstanding scholarly publication by Junior Faculty Members of the Humanities for her book Modernity and Nostalgia: Art and Politics in France between the Wars (Yale Univ. Press, 1995). She is on the editorial board of Modernism/Modernity.
For a full list of Professor Golan's publications, please go to her webpage at academia.edu
"Temporalités cachées dans Campo Urbano, Côme, 1969" In Transbordeur: photographie histoire société, no. 1 (2017)
"Vitalità del negativo/ Negativo della vitalità." October no. 150 (Fall 2014): 113-132.
"Paris: A Cardboard Promenade." In Le Corbusier: Landscapes for the Machine Age, 282-289. New York: Museum of Modern Art, 2013.
"The Scene of a Disappearance." Giosetta Fioroni: L'Argento, 87-102. The Drawing Center, 2013.
“Chronicle of a Disappearance Foretold,” Interspaces: Art + Architectural Exchanges from East to West, University of Melbourne, Australia, 2012
“The World Fair: A Transmedial Theatre.” Encuentros con los años 30, 173-186. Museo Reina Sofia, Madrid, 2012
“Equivoci : Le Corbusier al Convegno Volta” L’Italia di Le Corbusier, MAXXI, Rome, 2012.
“Flashbacks and Eclipses in Italian Art in the 1960s,” Grey Room (Oct. 2012): 102-27.
"La possibilità di un fotomurale socialista." Memoria e ricerca (January-April 2010): 81-95.
Muralnomad: The Paradox of Wall Painting, Europe 1927-1957. New Haven:Yale University Press, 2009.
"Pointe de chute: Restany à Domus, Le Demi-Siècle de Pierre Restany/The Half Century of Pierre Restany. Institut National d'Histoire de l'Art (Paris:INHA, 2007).
"Ingestion / Anti-Pasta." Cabinet Magazine no. 10 (Spring 2003): 12-15.
"From Monument to Muralnomad: The Mural in Modernist Architecture." The Built Surface: Architecture and Pictures from Antiquity to the Millenium, Vol. 2. Karen Koehler ed. London:Ashgate Press, 2002.
"L'éternel décoratif: French art in the 1950s." Yale French Studies 98, The French Fifties (Spring 2000): 98-118.
Modernity and Nostalgia: Art and Politics in France between the Wars. New Haven:Yale University Press, 1995.
"Triangulating the Surrealist Fetish." Visual Anthropology Review 50, no. 1 (Spring 1994): 50-65.
With Kenneth E. Silver. The Circle of Montparnasse: Jewish Artists in Paris 1905-1945. New York:Universe Books, 1985.
Reviews of Muralnomad:
Merjian, Ara H. Review of Muralnomad: The Paradox of Wall Painting, Europe 1927-1957, by Romy Golan, and Grand Illusion: The Third Reich, The Paris Exposition, and the Cultural Seduction of France, by Karen Fiss. Oxford Art Journal (2013).
White, Anthony. Review of Muralnomad: The Paradox of Wall Painting, Europe 1927-1957, by Romy Golan. caa.reviews, June 25, 2012.
Burleigh, Paula, “The Labyrinth, the Cave, and the Monolith: Archaic Impulses in Utopian Projects in Europe, 1947-1972”
Guidelli-Guidi, Matilde, "Archipelagos of Knowledge: Le Corbusier’s Unrealized Museums, 1919-1965"
Haines, Chelsea, “Staging the Modern, Building the Nation: Israeli Exhibitions, 1948-1965”
Isotani, Yusuke, “The Quest for Identity in French Photography: The History of Arts et Métiers Graphiques (1927-1939)”
McCollum, Christina, “'Exhibitions of Outsider Art Since 1947”
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