Talia holds an A.B. in Art and Archaeology with a certificate in Italian Language and Culture from Princeton University, and a M.St. in the History of Art and Visual Culture from Hertford College, University of Oxford. Prior to her studies at UCL, Talia 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.
Suzanne Duchamp Does More Intelligent Things Than Paint
Supervised by Professor Briony Fer
Funded by the UCL Fulbrook Faculty Scholarship (2018–2021)
Max Ernst: Beyond Painting. The Museum of Modern Art, New York, 23 September 2017–1 January 2018. Assisted Starr Figura and Anne Umland.
Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction. Kunsthaus Zürich, 3 June–25 September 2016, and The Museum of Modern Art, New York, 20 November 2016–19 March 2017. Assisted Anne Umland and Cathérine Hug.
Co-author with Anne Umland, “Fantastic Art, Dada, Surrealism: ‘A Serious Affair,’” in Networks, Museums and Collections. Surrealism in the United States of America, ed. Julia Drost, Fabrice Flahutez, Anne Helmereich, and Martin Scheider (Paris: DFK Paris–German Center for Art History, 2019). (forthcoming)
“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.
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-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.
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.
“Suzanne Duchamp’s Dada Collages (1916–1921).” “Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present,” University of Edinburgh, 18 April 2018.
“The First Papers of Women.” “Half Straddle: Here I Go, pt. 2 of You.” The Kitchen, New York, 10 March 2017.
“Francis Picabia’s Portrait of a Couple (1942–43): Sources, Techniques, Context.” “Picasso, Picabia, Ernst,” Tate, London, 25 November 2016.
“Stati d’animo: The Unfolding of Boccioni’s Futurist Aesthetic.” “New Perspectives on Italian Futurism (1909–1944)." Northeast Modern Language Association, Toronto, 30 April 2015.
“Why Not Rome? Reconstructing Ileana Sonnabend’s Roman Sojourn, c. 1960–1962.” “Rome Revisited: Rethinking Narratives in the Arts, 1948–1964,” The American Academy in Rome, 15 January 2015.
“Illuminated Portraits: Walter Sickert’s Transformation of Elsie Swinton as Sitter and Subject.” “Theories and Uses of Light in British Arts of the 19th and 20th Centuries,” Université Paris Diderot, 21 June 21 2014.
#ArtSpeaks talks on Hector Hyppolite, The Congo Queen (by 1946), 26 June 2018; Sophie Taeuber-Arp, Composition of Circles and Overlapping Angles (1930), 20 May 2018; Meret Oppenheim, Object (1936), 27 February 2018; Marcel Duchamp, Female Fig Leaf (1951), 30 January 2018; Umberto Boccioni, States of Mind: The Farewells, Those Who Go, and Those Who Stay (all 1911), 27 May 2017; and Francis Picabia, The Fratellini Clown (1938), 20 January 2017; The Museum of Modern Art, New York.
“Maintaining Good Relations,” Artists Space, New York, December 16, 2017. Organized by Native Art Department International (Maria Hupfield, Jason Lujan) and Christopher Green.
Centre for the Study of Contemporary Art, UCL