Romy Golan

Golan completed her Ph.D. at the Courtauld Institute of Art, London in 1989.[1] Before joining the faculty of The Graduate Center in 1998, Golan taught at Vassar College (1987–2002) and Yale University (1993–1998).[1]

Golan’s first book, Modernity and Nostalgia: Art and Politics in France between the Wars (1995) posits a number of reversals between avant-garde and rearguard. In a challenge to traditional scholarship on interwar France, Golan argued that neo-traditional belle peinture and modernist painting, cosmopolitanism and xenophobia, in fact often shared the same stage.[2]

In Muralnomad: The Paradox of Wall Painting, Europe 1927-1957 (2009), Golan explored the transmediality of the mural image. The book looks at mural paintings, including works by Claude Monet, Mario Sironi, and Pablo Picasso, that were not truly convinced that they belonged on walls. Installed in unorthodox manners, these public works manifested an ambivalence about their charged ideological identity.[3]

Her most recent book is Flashback, Eclipse. The Political Imaginary of Italian Art in the 1960s (Zone Books, 2021). Structured by two forms of non-linear and decidedly non-presentist forms of temporality, the flashback and the eclipse, this book argues that Italian art of the 1960s reimagined Italian (and European) history, but in oblique form. The reimagining occurred as modernism in the country was formerly aligned with Italian fascism.[4][5]

Golan's curatorial work includes Encounters with the 1930s at the Museo Reina Sofia in 2012 and Avigdor Stematsky’s Late Works at the Tel Aviv Museum of Art in 2008.[6][7] She has also contributed catalogue essays to exhibitions including Le Paris de Dufy at the Musée de Montmartre in 2021, Charlotte Perriand: Inventing a New World at the Fondation Louis Vuitton, Paris in 2019, and Postwar: Art between the Pacific and the Atlantic, 1945–1965 at the Haus der Kunst, Munich in 2016.[8][9][10]