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Romy Golan
Position: Professor
Campus Affiliation: Graduate Center
Degrees/Diplomas: PhD, Courtauld Institute of Art, 1989
Research Interests: 20th Century Art and Historiography

Professor of 20th-Century Art

Professor Romy Golan came to the Graduate Center after having taught at Vassar College and Yale University. She is the author of Modernity and Nostalgia: Art and Politics in France Between the Wars (Yale Univ. Press, 1995) and Muralnomad: The Paradox of Wall Painting, Europe 1927-1957 (Yale Univ. Press, 2009; French transl. Editions Macula, 2019), as well as the manuscript of a forthcoming book on Italian Art in the 1960s structured around two non-linear forms of temporality: the flashback and the eclipse.

She is currently writing a series of articles which involve the homology posited by Jacques Ranciere in his recent La méthode de la scène between the space of politics and stagecraft, the construction of a theatrical drama. They also engage with Rancière’s assertion that there is no such thing as an “off-stage” in the sense of being hidden and that all things are, in fact, manifest. 

Current dissertations under her supervision focus on Le Corbusier’s unrealised museums, exhibitions and modern nation building, Die Brücke and commodity production, Socialist Realisms in ex-Eastern Europe, and Asian artists in postwar Europe and the US. 

For a full list of Professor Golan's publications, please visit her webpage at


“Monumental Fairytales: Mural Images during the Ventennio” Post Zang Tumb Tuuum. Art Life Politics Italia 1918–1945, Prada Foundation, Milan, 2018

"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., June 25, 2012.

Curriculum vitae:
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