
Dr. Marianne Mulvey is curator, writer and teacher. She is Senior Lecturer and Programme Leader, Curating MA / MFA, University of West England and has run courses for Tate and Photographers’ Gallery and taught at various HE Institutions nationally and internationally including The Royal College of Art. Marianne has curated Public Programmes for Tate Britain and Modern (2009–16); been a Trustee of Fierce Festival, Birmingham (2014–18); Acquisitions Coordinator for the Arts Council Collection, Hayward Gallery, Southbank Centre (2004–07); Curator in Residence, Helsinki International Artists' Programme (2016) and The Feminist Library, Hobart, Tasmania, Australia (2018).
In 2021 Marianne graduated from a Collaborative Doctoral Award between Tate and RCA, with the thesis ‘Becoming Public(s): Practising the Public Programme in the Contemporary Art Institution’ reflecting on seven years’ public programming in a global art museum and its awkward challenges. Troubling the abstract notion of a ‘general public’ the thesis reframes and performs publicness as a process of becoming. Similarly, in her writing on art, performance and pedagogy for scholarly and no-academic publications, she enacts ideas through text and writes with the personal experience of herself and others.

Dr. Marianne Mulvey is curator, writer and teacher. She is Senior Lecturer and Programme Leader, Curating MA / MFA, University of West England and has run courses for Tate and Photographers’ Gallery and taught at various HE Institutions nationally and internationally including The Royal College of Art. Marianne has curated Public Programmes for Tate Britain and Modern (2009–16); been a Trustee of Fierce Festival, Birmingham (2014–18); Acquisitions Coordinator for the Arts Council Collection, Hayward Gallery, Southbank Centre (2004–07); Curator in Residence, Helsinki International Artists' Programme (2016) and The Feminist Library, Hobart, Tasmania, Australia (2018).
In 2021 Marianne graduated from a Collaborative Doctoral Award between Tate and RCA, with the thesis ‘Becoming Public(s): Practising the Public Programme in the Contemporary Art Institution’ reflecting on seven years’ public programming in a global art museum and its awkward challenges. Troubling the abstract notion of a ‘general public’ the thesis reframes and performs publicness as a process of becoming. Similarly, in her writing on art, performance and pedagogy for scholarly and no-academic publications, she enacts ideas through text and writes with the personal experience of herself and others.