Romy Golan is an art historian and professor in the Ph.D. program in art history at The Graduate Center, CUNY. Her research focuses on modern European art, particularly French and Italian painting of the interwar and postwar period.[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.[citation needed] 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]
Modernity and Nostalgia: Art and Politics in France Between the Wars (Yale University Press, 1995)[2]
Muralnomad: The Paradox of Wall Painting, Europe 1927–1957 (Yale University Press, 2009)[3]
Golan, Romy (2019). Muralnomad: Le paradoxe de l'image murale en Europe (1927–1957) (in French). Translated by Yersin Legrand, Sophie. Paris: Editions Macula. ISBN978-2-86589-103-0.
Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s (Zone Books, 2021)[4]
