History of Art


Talia Kwartler

PhD supervisor: Briony Fer
Working title for PhD: 'Suzanne Duchamp Does More Intelligent Things Than Paint'

Kwartler’s thesis is a monographic study of the work Suzanne Duchamp made between 1916 and 1922. Taking an object-focused and materially-driven approach, the thesis builds upon formal and historical relationships between Duchamp and her peers in order to explore her particular manner of working with readymade materials, language, and objects. Kwartler’s research centres on the transatlantic activities of Dada, particularly networks of artistic exchange between New York, Paris, and Zurich. Prior to her studies at UCL, Kwartler was a Curatorial Assistant in the Department of Painting & Sculpture at the Museum of Modern Art, New York. She previously worked at the Ashmolean Museum of Art and Archaeology, and the Pitt Rivers Museum, Oxford; and the Peggy Guggenheim Collection, Venice. 


Book Chapters

  • Anne Umland and Talia Kwartler, “Fantastic Art, Dada, Surrealism: ‘A Serious Affair,’” in Networking Surrealism in the USA: Networks, Agents, and the Market, ed. Julia Drost, Fabrice Flahutez, Anne Helmereich, and Martin Scheider (Paris: Centre Allemand d’Histoire de L’Art; Heidelberg: University of Heidelberg Press, 2019), 40–76. 
  • “Francis Picabia’s Portrait of a Couple (1942–43): Sources, Techniques, Context,” in Picasso, Picabia, Ernst: New Perspectives, ed. Annette King, Joyce Townsend, and Adele Wright (London: Archetype Publications, 2018), 101–112.


  • “Suzanne Duchamp, Katherine Dreier, and ‘Semi-Abstract Painting,’” in Yale University Art Gallery Bulletin, ed. Frauke Josenhans and Susan Matheson (New Haven: Yale University Art Gallery, December 2021). [forthcoming]
  • “Suzanne Duchamp’s Readymade Paintings,” Object: Graduate Research and Reviews in the History of Art and Visual Culture, vol. 22 (2020), 29–52. 


  • Ellen Davis and Talia Kwartler with Ana Martins, “Collage Logic in Max Ernst’s Woman, Old Man, and Flower (1923–24): New Findings,” The Burlington Magazine (London, Spring 2021). [forthcoming]
  • Review of Kai Althoff Goes with Bernard Leach at Whitechapel Gallery, London, Texte zur Künst (Berlin, March 2021). [forthcoming]

Exhibition/museum catalogues

  • Entries on Piet Mondrian, Marcel Duchamp, Francis Picabia, Umberto Boccioni, and Bruce Nauman, in Being Modern: MoMA in Paris, ed. Quentin Bajac. (London: Thames and Hudson; Paris: Fondation Louis Vuitton; New York: The Museum of Modern Art, 2017), 76–77, 128–129, 134–135, 162–163, 176–177. Also published in French.
  • Co-author with Natalie Dupêcher, “Checklist of the Exhibition,” in Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction, Anne Umland and Cathérine Hug, ed. (New York: The Museum of Modern Art, 2016), 340–360. Also published in French and German.

Digital publications

  • Co-editor with Michael Duffy, Natalie Dupêcher, and Anne Umland, Francis Picabia: Materials and Techniques (New York: The Museum of Modern Art, 2017). Published at mo.ma/picabia_conservation. Also the author of the essay on Portrait of a Couple (1942–43), with Michael Duffy, and the selected bibliography, 61–65, 73–76.


Conference papers and presentations: 

Media appearances:


  • HART 0001 – History of Art and Its Objects (Spring 2020)


  • Gerald D. Feldman Travel Grant for research on Suzanne Duchamp in Paris, Washington, D.C., and Jerusalem, Max Weber Stiftung, 2021 
  • Research Mobility Grant for Research in France on Suzanne Duchamp, Institut national d’histoire de l’art, 2020  
  • Fulbrook Faculty Scholarship, University College London, 2018–21  
  • Robert V. Storr Grants for research on Suzanne Duchamp and Ileana Sonnabend, The Museum of Modern Art, New York, 2017/2018