Frances Follin is an editor and writer based in London. She holds BSc, BA and PhD degrees from the University of London, her PhD being on the early, ÔOp artÕ , work of Bridget Riley, published by Thames and Hudson as Embodied Visions: Bridget Riley, Op Art and the Sixties. Most recently, Frances has written a short essay on American artist Sue Fuller, due to be published online this year by Tate as part of its ÔIn FocusÕ project on the artist, funded by the Terra Foundation. She also recently co-curated the exhibition ÔSeurat to Riley: The art of perceptionÕ at Compton Verney (8 July Ð 1 October 2017).
Liverpool’s Merseybeat sound of the 1960s was influenced by American records brought in by the many US sailors arriving in the port each year. The Atlantic ‘border’ between Liverpool and the USA was wide but porous. Tate Liverpool was a particularly appropriate place, therefore, for the ‘Border Control’ conference.