Romy Golan

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Romy Golan
Romy Golan.jpg
Professor Romy Golan
EducationThe Courtauld Institute of Art
OccupationArt Historian
EmployerThe Graduate Center, CUNY
Websitegc-cuny.academia.edu/RomyGolan

Romy Golan is an American 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]

Education and career[edit]

Golan completed her PhD 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]    

Works[edit]

Books[edit]

  • 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. ISBN 978-2-86589-103-0.  
  • Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s (Zone Books, 2021)[4]

Selected articles and book chapters[edit]

References[edit]

  1. ^ a b c "Golan, Romy". www.gc.cuny.edu. Retrieved March 8, 2022.
  2. ^ a b Golan, Romy (1995). Modernity and Nostalgia: Art and Politics in France Between the Wars. New Haven: Yale University Press. ISBN 9780300063509.
  3. ^ a b Golan, Romy (2009). Muralnomad: The Paradox of Wall Painting, Europe 1927–1957. New Haven: Yale University Press. ISBN 9780300141535.
  4. ^ a b Golan, Romy (2021). Flashback, Eclipse: The Political Imaginary of Italian Art in the 1960s. New York: Zone Books. ISBN 9781942130505.
  5. ^ Gluibizzi, Amanda (December 2021). 20 Best Art Books of 2021. The Brooklyn Rail.
  6. ^ "Encounters with the 1930s | Museo Nacional Centro de Arte Reina Sofía". www.museoreinasofia.es. Retrieved March 8, 2022.
  7. ^ Golan, Romy (January 1, 2008). "Avigdor Stematsky: Late Works". Tel Aviv Museum.
  8. ^ Golan, Romy (2021). Dufy's Tapestries: Vignettes (PDF). Musée de Montmartre.
  9. ^ Golan, Romy (January 1, 2019). "Charlotte Perriand: Un art de la rue". Charlotte Perriand: Inventing a New World.
  10. ^ Drosos, Nikolas; Golan, Romy (2016). Realism as International Style. Munich: Haus der Kunst.