Romy Golan

Romy Golan

Research Interests

  • 20th century european art; historiography


  • Ph.D., Courtauld Institute of Art, 1989

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). Her most recent book Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s was published by Zone Books in 2021.

She is currently working on a series of scenes, all of which involve the homology posited by Jacques Rancière between the space of politics and stagecraft. It engages with his assertion that there is no such thing as an “off-stage,” in the sense of being hidden, and that all political scenarios are, in fact, manifest.

Current dissertations under her supervision focus on Die Brücke and commodity production, The Mine and British Modernism, Socialist Realisms in ex-Eastern Europe, Art and Medecine in Paris’ Grand Palais, Le Corbusier’s unrealised museums.

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


Recent articles:

"Dufy’s Tapestries: Vignettes," Le Paris de Dufy (Paris: Musée de Montmartre, 2021)

"Renato Guttuso's Boogie Woogie in Rome (1953): A Geopolitical Tableau," Art History 43, no. 5 (November 2020): 1008–1037

"Is Fascist realism a magic realism?" Res 73–74 (Spring/Autumn 2020): 221–237

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

"Paris: A Cardboard Promenade." In Le Corbusier: Landscapes for the Machine Age, 282-289 (New York: Museum of Modern Art, 2013)

“The World Fair: A Transmedial Theatre.” Encuentros con los años 30, 173-186 (Madrid: Museo Reina Sofia, 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

"Point 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)

“La doppia scommessa dell’Italia: dalla sintesi delle arti all’opera aperta,” Il Caffè Illustrato (Rome), no. 33, Nov-Dec 2006

"Ingestion / Anti-Pasta." Cabinet Magazine no. 10 (Spring 2003): 12-15

"L'éternel décoratif: French art in the 1950s." Yale French Studies 98, The French Fifties (Spring 2000): 98-118

"Triangulating the Surrealist Fetish." Visual Anthropology Review 50, no. 1 (Spring 1994): 50-65

"The Française versus the Ecole de Paris: The Debate over the Status of Jewish Artists in Paris Between the Wars,” The Circle of Montparnasse: Jewish Artists in Paris 1905-1945, Jewish Museum, New York, 1985:81-87 (reprinted in Jewish dimensions in modern visual culture : antisemitism, assimilation, affirmation, Rose-Carol Washton Long et al. eds, ,Univ. Press of New England, 2010).

Reviews of her books:

Juan José Lahuerta, Casabella, Jan. 2012: review of Muralnomad (or view the Italian version)

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

Weber, Eugene. Review of Modernity and Nostalgia: Art and Politics in France Between the Wars, by Romy Golan. The Times Literary Supplement, November 10, 1995