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Romy Golan

Biographic Data

ID3867124
NAMERomy Golan
GIVEN NAMESRomy
FAMILY NAMEGolan
SIGNATUREGOLAN R
AFFILIATIONSThe Graduate Center, CUNY
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS1
WORKS AS AUTHOR9
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1994
LATEST PUBLICATION YEAR2025
H-INDEX1
  • Quelque part, une brique

    Open Access•Romy Golan, Étienne Gomez•ARTICLE•Perspective•2025

    En 1949, le briquetier italien Giuseppe Verzocchi commande de soixante-dix tableaux à autant d’artistes, sur le thème du travail. Exposées à la Biennale de Venise en 1950, ces œuvres seront offertes en 1961 à la pinacothèque de Forli, ville natale de Verzocchi. Ce dernier demande à chaque artiste d’inclure dans son tableau l’image de marque de son entreprise (une brique portant le sigle « V&D ») et impose également un format unique. Ces briques p…

  • Renato Guttuso's Boogie Woogie in Rome (1953)

    Open Access•Romy Golan•ARTICLE•Art History•2020

    A quasi‐panic underlies Renato Guttuso's Boogie Woogie in Rome , his single envoi to the 1954 Venice Biennale. It depicts teenagers dancing frenetically in front of Mondrian's eponymous painting, its kinetic, neoplasticist language absorbed into their plaid clothes. This essay shows how this painting pulled into its orbit much of the geopolitics of the 1950s. Guttuso's depiction of gyrating youths drew its – mostly negative – energy from events t…

  • Is Fascist realism a magic realism

    Open Access•Romy Golan•ARTICLE•Res: Anthropology and Aesthetics•2020•References: 3

  • Exposition Internationale des Arts et des Techniques dans la Vie Moderne

    Romy Golan•CHAPTER•2014

  • Vitalità del negativo/Negativo della vitalità

    Romy Golan•ARTICLE•October•2014•References: 2

    Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of P…

  • Flashbacks and Eclipses in Italian Art in the 1960s

    Romy Golan•ARTICLE•Grey Room•2012•Cited by: 1

    October 01 2012 Flashbacks and Eclipses in Italian Art in the 1960s Romy Golan Romy Golan Romy Golan is professor of twentieth-century art at the Graduate Center and Lehman College of the City University of New York. She is author of Muralnomad: The Paradox of Wall Painting, Europe 1927–1957 (Yale University Press, 2009) and is currently working on a book on Italian art from 1962 to 1973, structured around nonlinear forms of temporality. Search f…

  • L'Eternel Decoratif

    Romy Golan•ARTICLE•Yale French Studies•2000

  • Modernity and Nostalgia

    Jerrold Seigel, Romy Golan•ARTICLE•The American Historical Review•1997

    France Revisited: Landscape as lieu de memoire - Re-embracing the Motif A Moralised Landscape The Landscape of the Trenches The Landscape of the Body. Rusticising the Modern: Choosing the Regional Mosel Sculpture's Neo-Medieval Lineage Painting's Naturalistic Lineage Micons of the Regional - the French Peasantry Mythic Identities - the Artist as Peasant, Landed Aristocrat, and constructeur Ludus Pro Patria 1920s Paris - a not so moveable feast. A…

  • Triangulating the Surrealist Fetish

    Open Access•Romy Golan•ARTICLE•Visual Anthropology Review•1994

  • Flashbacks and Eclipses in Italian Art in the 1960s

    Romy Golan•ARTICLE•Grey Room•2012•Cited by: 1

    October 01 2012 Flashbacks and Eclipses in Italian Art in the 1960s Romy Golan Romy Golan Romy Golan is professor of twentieth-century art at the Graduate Center and Lehman College of the City University of New York. She is author of Muralnomad: The Paradox of Wall Painting, Europe 1927–1957 (Yale University Press, 2009) and is currently working on a book on Italian art from 1962 to 1973, structured around nonlinear forms of temporality. Search f…

  • Triangulating the Surrealist Fetish

    Open Access•Romy Golan•ARTICLE•Visual Anthropology Review•1994

  • Modernity and Nostalgia

    Jerrold Seigel, Romy Golan•ARTICLE•The American Historical Review•1997

    France Revisited: Landscape as lieu de memoire - Re-embracing the Motif A Moralised Landscape The Landscape of the Trenches The Landscape of the Body. Rusticising the Modern: Choosing the Regional Mosel Sculpture's Neo-Medieval Lineage Painting's Naturalistic Lineage Micons of the Regional - the French Peasantry Mythic Identities - the Artist as Peasant, Landed Aristocrat, and constructeur Ludus Pro Patria 1920s Paris - a not so moveable feast. A…

  • L'Eternel Decoratif

    Romy Golan•ARTICLE•Yale French Studies•2000

  • Flashbacks and Eclipses in Italian Art in the 1960s

    Romy Golan•ARTICLE•Grey Room•2012•Cited by: 1

    October 01 2012 Flashbacks and Eclipses in Italian Art in the 1960s Romy Golan Romy Golan Romy Golan is professor of twentieth-century art at the Graduate Center and Lehman College of the City University of New York. She is author of Muralnomad: The Paradox of Wall Painting, Europe 1927–1957 (Yale University Press, 2009) and is currently working on a book on Italian art from 1962 to 1973, structured around nonlinear forms of temporality. Search f…

  • Exposition Internationale des Arts et des Techniques dans la Vie Moderne

    Romy Golan•CHAPTER•2014

  • Vitalità del negativo/Negativo della vitalità

    Romy Golan•ARTICLE•October•2014•References: 2

    Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of P…

  • Renato Guttuso's Boogie Woogie in Rome (1953)

    Open Access•Romy Golan•ARTICLE•Art History•2020

    A quasi‐panic underlies Renato Guttuso's Boogie Woogie in Rome , his single envoi to the 1954 Venice Biennale. It depicts teenagers dancing frenetically in front of Mondrian's eponymous painting, its kinetic, neoplasticist language absorbed into their plaid clothes. This essay shows how this painting pulled into its orbit much of the geopolitics of the 1950s. Guttuso's depiction of gyrating youths drew its – mostly negative – energy from events t…

  • Is Fascist realism a magic realism

    Open Access•Romy Golan•ARTICLE•Res: Anthropology and Aesthetics•2020•References: 3

  • Quelque part, une brique

    Open Access•Romy Golan, Étienne Gomez•ARTICLE•Perspective•2025

    En 1949, le briquetier italien Giuseppe Verzocchi commande de soixante-dix tableaux à autant d’artistes, sur le thème du travail. Exposées à la Biennale de Venise en 1950, ces œuvres seront offertes en 1961 à la pinacothèque de Forli, ville natale de Verzocchi. Ce dernier demande à chaque artiste d’inclure dans son tableau l’image de marque de son entreprise (une brique portant le sigle « V&D ») et impose également un format unique. Ces briques p…

Art (9 works) · Art history (6 works) · Art, Politics, and Modernism (5 works) · History (4 works) · Visual arts (4 works) · Computer Science (3 works) · French Historical and Cultural Studies (3 works) · Painting (3 works) · Citation (2 works) · History (2 works)

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