18th century
Until the end of the 18th century, the town consisted chiefly of a string of houses, shops and warehouses stretching along the coastal dunes either side of the Church of St Helier and the adjacent marketplaceThe Royal Square was also the scene of the Battle of Jersey on 6 January 1781, the last attempt by French forces to seize Jersey. George II gave £200 towards the construction of a new harbour – previously boats would be beached on a falling tide and unloaded by cart across the sand.
19th century
Military roads linking coastal defences around the island with St Helier harbour allowed farmers to exploit Jersey’s temperate micro-climate and use new fast sailing ships and then steamships to get their produce to the markets of London and Paris before the competition. This was the start of Jersey’s agricultural prosperity in the 19th century.
20th Century
In the 1960s, income from the Jersey States Lottery was used to excavate a two-lane road tunnel under Fort Regent, enabling traffic from the harbour to the east coast towns to avoid a torturous route around the fort. About the same time, the Fort was converted into a major leisure facility and was linked to the town centre by a gondola cableway – closed and demolished in the 1990s.
21th Century
Liberation Square is now a focal point in the town – the former terminus of the Jersey Railway housed the Jersey Tourism office until 2007
who is highly credited for the population of colour photography as a legitimate artistic medium to be displayed in art galleries
Before he bought his first Polaroid camera in 2006 he has been shooting abstract, geometric and minimalist photos with a digital camera. He has a keen eye for hidden color, shape, and form in everyday life, and this itself is the subject he chooses to photograph most often. Because of the way in which he shoots, there is no room for error. There are no negatives, no memory cards, and no post-processing. Each image is exactly as he saw it in real life, and there’s a sense of honesty and beauty to that. Since there are only ten images in each film pack, he has to examine each subject with meticulous detail before taking the shot. More time is taken to consider shape, form, light, color, and subject. His photographs range from the corner of a motel sign to balloons on a ceiling to the words on a neon sign , no subject is left untouched.
He took his earliest photographs in high school, photographing film footage of Audrey Hepburn as it played in a movie theater. After receiving a BA from Saint Paul’s University in Tokyo in 1970, he traveled west, first encountering communist countries such as the Soviet Union and Poland, and later Western Europe.Through different bodies of work he has shown many different interests, including minimalistic dioramas, wax portraits and photographing early photographic negatives. His photography tends to blur the lines between painting, illustration, photography, and architecture. From seascapes to natural history dioramas, there’s something about Sugimoto’s photographs that resonates with viewers. Like Kenna, Sugimoto only photographs in black and white. He prints all of his images himself with a great understanding of silver print, creating images with unbelievably beautiful tones of black, white and gray.
entury artists, using a minimum amount of components such as colour, shape, line and texture. Within the art world it is considered an extremely subjective concept, leaving interpretation and meaning up to the viewers perception of the work. Minimalism emerged in the late 50′s when artists such as Frank Stella, whose Black Paintings were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the gestural art of the previous generation
Abstract photography, also known as non-objective, experimental, conceptual or concrete photography, is a means of depicting a visual image that does not have an immediate association with the object world and that has been created through the use of photographic equipment, processes or materials. An abstract photograph may isolate a fragment of a natural scene in order to remove its inherent context from the viewer, it may be purposely staged to create a seemingly unreal appearance from real objects, or it may involve the use of color, light, shadow, texture, shape and/or form to convey a feeling, sensation or impression. The image may be produced using traditional photographic equipment like a camera, darkroom or computer, or it may be created without using a camera by directly manipulating film, paper or other photographic media, including digital presentations