• 2022–Present | Guest Curator, Kunsthaus Zürich
• 2023–Present | Editor-at-Large, Museum für Moderne Kunst, Frankfurt
• 2022–Present | Lecturer, Osher Lifelong Learning Institute, Brandeis University
• Spring 2024 | Guest Lecturer, University of Zurich
• Autumn 2023 | Visiting Lecturer, Akademie der Bildenden Künste, Munich
• 2022 | Ph.D. History of Art, University College London
• 2020–2022 | Editor, University College London
• 2014–2018 | Curatorial Assistant, The Museum of Modern Art, New York
• 2013–2014 | 12-Month Painting and Sculpture Intern, The Museum of Modern Art, New York
• 2013 | M.St. History of Art and Visual Culture, University of Oxford
• 2012 | A.B. Art and Archaeology with a Certificate in Italian Language and Culture, Princeton University

Awards, Honors and Fellowships

• 2024 | Zentralinstitut für Kunstgeschichte Freiraum Fellowship
• 2023 | Brandeis University Digital Fellowship
• 2022 | Stiftung Arp Research Fellowship
• 2021 | Max Weber Stiftung Gerald D. Feldman Travel Grant (2021)
• 2020 | Institut national d’histoire de l’art Research Mobility Grant for research in France
• 2018–2021 | University College London Fulbrook Faculty Scholarship (2018–2021)
• 2018 | The Museum of Modern Art Robert V. Storr Grant
• 2017 | The Museum of Modern Art Robert V. Storr Grant
• 2012 | Gamma Kappa Alpha, National Italian Honor Society

Selected Publications

Books

• Suzanne Duchamp, par elle-même. Paris: Institut Giacometti; Lyon: Éditions Fage, 2024. 

Peer-Reviewed Articles

• “Dancing through Dada: Suzanne Duchamp’s Scottish Espagnole (1920),” The Art Bulletin, vol. 106, no. 3 (September 2024). [forthcoming]“
• I Shock Myself: Beatrice Wood in, and on, New York Dada,” The Cambridge Quarterly, New Research in Biography: A Symposium, ed. Nina Ellis and Emily Hull (Oxford: Oxford University Press, 2024), 11–21.
• “Suzanne Duchamp, Katherine Dreier, and ‘Semi-Abstract Painting,’” Yale University Art Gallery Bulletin 2020–2021, The Société Anonyme at 100 (New Haven: Yale University Art Gallery, 2022): 76–85.
• “Suzanne Duchamp’s Readymade Paintings,” Object: Graduate Research and Reviews in the History of Art and Visual Culture, vol. 22 (London: UCL Press, December 2020): 29–52.

Book Chapters and Catalogue Essays

• “Ein neuer Blick auf die New Yorker Dada-Frauen,” in der die DADA, ed. Julia Wallner (Remagen: Arp Museum Bahnhof Rolandseck, 2024), 112–118.
• “Teacher as Student: Sophie Taeuber in Zurich, 1915–1920,” in Transmission and Gender: Women Artists as Teachers in the 20th Century, ed. Déborah Laks and Natalia Sassu Suarez Ferri (Paris: Deutsches Forum für Kunstgeschichte; Heidelberg: University of Heidelberg Press, 2023), 51–60.
• 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: Deutsches Forum für Kunstgeschichte; Heidelberg: University of Heidelberg Press, 2019), 40–76.

Edited Volumes

• Daisy Clery, Talia Kwartler, and Daisy Silver, eds., Object: Graduate Research and Reviews in the History of Art and Visual Culture, vol. 23 (London: University College London, February 2022).
• Michael Duffy, Talia Kwartler, Natalie Dupêcher, and Anne Umland, eds., Francis Picabia: Materials and Techniques (New York: The Museum of Modern Art, 2017). Published at mo.ma/picabia_conservation.

Reviews/Notices

• Review of Hannah Höch: Assembled Worlds at the Belvedere, Vienna, Artforum (November 2024). [forthcoming]
• Review of Nancy Holt: Circles of Light at the Gropius Bau, Berlin, Artforum (Summer 2024), 196–197.
• “Whose Story?” Review of Judy Chicago: Herstory at the New Museum, New York, Texte zur Kunst (online) (December 2023).
• Review of Simone Fattal: The Manifestations of the Voyage at Portikus, Frankfurt, Artforum (December 2023), 132.
• “What Makes Mina Loy Modern?” Review of Mary Anne Caws, Mina Loy: Apology of Genius (University of Chicago Press, 2022), and Mina Loy: Strangeness is Inevitable, ed. Jennifer Gross et al., exh. cat. (Princeton University Press and Bowdoin College Museum of Art, 2023), Oxford Art Journal (Autumn 2023), 305–320.
• Review of Futurism and Europe: The Aesthetics of a New World at the Kröller-Müller Museum, Otterlo, The Burlington Magazine (August 2023), 906–908.
• Review of Etel Adnan at Lenbachhaus, Munich, The Burlington Magazine (February 2023), 199–201.
• “Drawing Out,” Review of Louise Bourgeois: The Woven Child at Gropius Bau, Berlin. Texte zur Kunst (December 2022), 190–193.
• “Multiple Marcels,” Review of Marcel Duchamp at Museum MMK für Moderne Kunst, Frankfurt, Texte zur Kunst (June 2022), 188–191.
• “Material Domains,” Review of Sophie Taeuber-Arp: Living Abstraction at the Museum of Modern Art, New York, Texte zur Kunst (March 2022), 230–234.
• Review of Nina Hamnett/Lisa Brice at Charleston House, Lewes, The Burlington Magazine (August 2021), 757–758.
• “Child’s Play,” Review of Kai Althoff Goes with Bernard Leach at Whitechapel Gallery, London, Texte zur Kunst (March 2021), 152–155.
• Ellen Davis and Talia Kwartler with Ana Martins, “Collage Logic in Max Ernst’s Woman, Old Man, and Flower (1923–1924): New Findings,” The Burlington Magazine (March 2021), 261–263.