The photobook is am deconstructing is Girl Pictures. The book by Justine Kurland, explores the free world of rebelling teenage girls in both portrait and landscape forms. Kurkland began the project in 1997

Throughout the book we are exposed to changing seasons, perhaps highlighting the changing world of the teenage girls in a chaotic yet peaceful way. The primary subject of Kurland’s pictures are the adolescent girls who inhabit these places, both familiar and uncanny, captured by the artist’s camera. The fact that Kurland’s pictures are carefully staged seems to contradict their intimate, candid quality. Speaking about her work, Kurland has said that she constructs pictures in order to let them unravel, working along a “spectrum between the perfect and the real.”

Girls Pictures by Justine Kurkland, carries a façade from the front cover, Girls Pictures is presented as baby pink hardcover and has an almost ‘inviting’ feeling through the use of flowers and soft colour creating a safe feeling for the book, however what he book holds is rebellious and surprising, similar to how teenage girls look and are expected to be friendly, but in reality, hold a lot more than that good and bad.

Girls pictures is a portrait shaped book with landscape images inside, the images tend to spread over one or two pages per book. The titles of the images are all quite literal e.g. ‘Spinning and smoking (1997)’quite literally shows two girls, one spinning and one smoking this theme of ‘literal’ can also be seen in the title of book ‘girls pictures’ as it is a book of pictures of girls. However, I think these obvious titles are in means to allow the audiences to think more about the image, to see and feel more than what is being stated directly.

Girls Pictures is an obvious story of adventure, Kurkland stated that she took inspiration from adventure stories such as Huckleberry Finn, Tom Sawyer, Where the Wild Things Are, The Outsiders… However, these stories are all male based. The costumes within the images impact ad change the images completly, placing girls in worn out overalls, ripped jeans The book holds a common theme of rebellion, self-sufficiency, confidence, often having an obvious leader within the groups of girls, perhaps expressing a discourse from the American dream within the use of youth and rebellion.

This is my photo book layout, i have chosen to do some two page spreads as well as single page images.

Photoshoot contact sheets

This was the first photoshoot I did, I wanted to create a very feminine photoshoot which showed interests of my group through things such as posters. I conducted this shoot in December on a winters day, the light was quite dark so I did use artificial lighting. I asked my friends to act as if I wasn’t there and to do things which they would normally do.

This shoot I did after a night out, i snapped photos of my friends as they were in conversation to try and attempt an authentic shoot. I decided to take images of this gathering as i feel it was a good representation of teenage life, and gave an authentic inside perspective of a teenager with their friends.

I began using the flag tool to select my favourite images. Doing this, i selected any images which i liked and thought were suitable for my project with a white flag. I then used a black flag to select the images that weren’t suitable or effective e.g blurry images, images where the subject wasn’t in frame and images which i felt didn’t hold much impact.

I then went through with the star tool to narrow them down, 5 stars for yes, 1 star for no. I ruled out which images were my favourite by using the XY feature, this was especially helpful on images that were similar and i needed to chose between the two.

“Youth culture refers to the societal norms of children, adolescents, and young adults… distinct from those of adults in the community.” (Wikipedia: 2022)

Actions and attitudes, styles and behaviours, music, and beliefs, are all factors which make up ‘Youth Culture’. Similar to animals, youth tend to be reckless and stick together in pacts where they feel most comfortable, accepted, and familiar. Young adults, differ from adults in the sense where they don’t take things so seriously, they’re brains are still mouldable, they tend to be quite ‘careless’, they are free. I have chosen this area of research because as a teen in Jersey, I am aware of the struggles and hardships we face living on a small island where we often feel trapped and suffocated, with little places to go and a lack of new things to see. The pressure we are faced with living in such a small community, where everyone knows everyone and everyone’s business. Justine Kurland and Ryan McGinley both capture youth culture in ways of rebelling against their countries, Kurland focussing on escaping this idea of ‘The American Dream’ and McGinley on rebelling the governing law. The two photographers capture youth culture in vastly diverse ways, Kurland’s, being soft and fairy tale-like while McGinley’s displays a much grittier, and rougher lifestyle. In this essay, I intend to create an understanding of Justine Kurland’s work from her book ‘Girl Pictures’, I also intend to compare and discuss the work of Ryan McGinley’s ‘The Kids Were Alright’

Abigail Solomon Godeau, a famous writer and postmodern critic, discussed what she refers to as the inside/outside positions which photographers can take when photographing their subjects. The binary opposing views of inside/out is at the heart of Godeau discussion. An outside perspective may come across as: voyeuristic, objectifying, distant, alienated/alienating, touristic, unsympathetic. On the other hand; an inside perspective: privileged, intimate, trusting, sympathetic/empathic, engaged, participatory. Godeau refers to a criticism by Susan Sontag in relation to the work of Diane Arbus, within the criticism, Sontag states that because Arbus has an outside perspective the involvement becomes unsympathetic, objectifying, and voyeuristic. Susan Sontag argued that certain forms of photographic depiction were especially complicit with processes of objectification that precluded either empathy or identification “Arbus was indicted as a voyeuristic and deeply morbid connoisseur of the horrible.”- (Solomon-Godeau year: pg no). Seemingly, it means that an outside position when photographing a subject is wrong on moral terms and an inside position is good “engagement, participation and privileged knowledge.”. Ultimately, Godeau’s aim was to find or create a sense of truth towards photography.

Justine Kurland, a runaway, was born in Warsaw, New York 1969, Kurland is known for capturing utopian landscapes and communities which often have a sense of going against the American dream. I was heavily drawn in by her book ‘Girls Pictures’, in which we are introduced to utopic feminist alternative to the American existence. Within the book we are introduced to a group of girls travelling through the different seasons and terrains of America, ‘runaways’. ‘I don’t know any of the girls in Justine Kurland’s Girl Pictures, but it really feels like I do. Or at least, I must have seen them. Maybe they were there on the side of the highway, or in some public restroom, or just standing on a sidewalk as I passed by. The girls in their baggy jeans and bare feet. The girls in their leather boots and used sweaters. There’s something about them that feels like so many teenage girls. The images in this book weigh me down with a sense of nostalgia, and it’s not just the late nineties fashion. It’s the fact that the girls seem to be disappearing. Like catching a wild animal in a trap, it feels like by the time you look at each image of these girls you’ve already missed them. They’ve run off to someplace better or just some place that isn’t here.’ (reference using Harvard) I was intrigued by Kurland work, I found a huge sense of personal familiarity within her pictures which I feel relate to the youth of Jersey so perfectly, the need to escape, to discover the unknown, fleeing the nest in which we often feel trapped, suffocated.

‘Girls pictures’ is a source of fantasy escapism which captures a sentiment and desire in which a lot of youth desire. The images tell the story of teenage girls who are runaways while living in the periphery of American life, wild yet still in ways dystopically connected to humanity through roadways, drainpipes, overpasses, buildings, and cars. It does become clear to see that the images are constructed however the images hold an energy which seems candid. The images creating an overwhelming alluring sense of freedom as well as a sense of ‘sisterhood’, brought on by the continuous theme of pacts, it is rare to see an image of a girl alone. Kurland, as a young girl, was too a runaway. Her past life experiences give Kurland an inside perspective on the nature of the subjects making the images authentic although constructed. However, Kurland was an adult at the time she had taken these images she also does have an outside perspective. How did she know the youth then was the same as when she was a young runaway? Was it genuine?

The construction of Kurland’s images is fascinating, not only do the images feel nostalgic, from the early 2000’s wardrobe and the sense of carefree silliness. Kurland’s images reference the style of the spirited tableaus reminiscent of rococo art which originated in France in the early 18th century which depicted middle class youth embracing nature through play, often captured in pastel colours. Rococo art also captures art in a constructed yet candid way as if they were trying to capture a lively moment. The freedom within this art translates directly to Kurland’s work, through her use of capturing images in a soft light on overcast days or early morning rather than the beaming midday American sun. Kurland has also referred to Arthur Rackham, an English illustrator known for his depictions on fairy tales as a source of inspiration for the project, giving the photo collection a huge sense of a story book. Rackham’s illustrations feature characters embracing and connected with nature in a playful sense. Kurland’s image ‘The Bathers’ allude to a history of paintings under the same title such as Cezanne’s ‘The Large Bathers’.

Kurland’s images are almost cinematic and create a narrative from a single image, a popular theme in 90s photography, also seen with photographers such as Jeff Wall and Gregory Crewdson, two photographers in which Kurland studied during her time at Yale. Kurland’s images favour wide, horizontal frames which almost seem as if they are stills from a film, they allow the imagination to imagine a story, when being compared to images from someone like Gregory Crewdson, seem a lot more real from her skill in disguising the construction and from that we are pulled so deeply into the story of her characters and their lives creating less of an establishment and more of an emotional feeling.

This image is called ‘Puppy Love, fire for sale’, the first thing I notice when I see this image, similar to many others by Kurland, is the abolishment of gender stereotypes. The image features girls in clothes which differ from skirts and dresses, they are seen in dirty denim and relaxed hair. The fire pit pouring with flames could be a metaphor for the fire and drive which is keeping these runaways going. The makeshift tents show that the girls, although young, can take care of themselves. The pink and blue tents seemed to be split apart, this could perhaps represent the social split between boys and girls in a metaphorical meaning or perhaps in a literary sense as this is a girls only adventure. The girl wrapped in a blanket in the background of the image makes me want to know where she has been: collecting wood for the fire? Sourcing berries?… The focal image of the image is the fire pit, which leads our eyes to the tired looking girls surrounding it perhaps suggesting they have had a day of adventure. The lighting is soft and seems to be early evening, the vibrant orange laying onto the girls skin highlight their energy and optimism. It could be said that in this photo Kurland has an outside perspective as she is older, she may not feel the possible fear or unease that the girls are feeling, while the girls are sleeping in their makeshift tents, will she be sleeping in her van? However, following back up with Kurland’s past of being a runaway, she probably knows exactly how it feels to be sleeping in an open place with minimal shelter.

Ryan McGinley, an American photographer, began his journey in New York City in 1998. McGinley’s work on ‘The kids were alright’ features photographs and polaroid’s of youth in New York City in the late 90s with a documentary approach. McGinley creates a powerful portrait of his generation, from representation of their debauched lifestyles in a gritty, rebellious, and daring way often focussing on moments of both pleasure and pain, fun, and boredom. The kids were alright exploring McGinley and his friends in states of varying nudity, ecstasy, and Reckless abandon. McGinley has a vast inside perspective on this project, some of his images being taken as a way of him remembering what he had done that evening when he woke up the next day, we are seeing an almost authentic and real intake of 90s New York youth.

McGinley uses a post-modern approach to his work, Postmodernism was the collective name given to the shattering of modernism. In photography this was the direct challenge to the ideal of fine art photography whose values were established on an anti-commercial stance. McGinley really approached the insider perspective with depth, allowing us in on events such as moments shared with his first boyfriend, giving us a much more intimate and possessive view of his life through his work. McGinley’s work holds a huge sense of freedom and living in the moment, Dash Snow, a multimedia artist who covers the drug fuelled anarchy of New York life commented ‘People fall in love with McGinley’s work because it tells a story about liberation and hedonism’ (reference using Harvard). ‘The Kids were Alright’ beautifully captures the raw fun and emotion of youth, it embodies the prevalence of an unspoken sex culture as well as diving into the gay and queer culture In New York, something seemingly lost and hidden due to the HIV hysteria. McGinley captured the weird and unwashed, the bloody and the truth.

This image by Ryan McGinley, show the subject holding two bags of seemingly narcotics over his eyes, his could suggest that the influence of drugs is all around him, being shoved in his face through television, music, the media and from general surroundings. This could also suggest, drug culture, which links with sub cultures such as youth and sex culture, two cultures which McGinley covers. These young people are chasing a high, states of ecstasy perhaps to escape the depression and calamity surrounding them with the AIDS virus. The boys T-Shirt displays some sort of mockery towards the police, perhaps suggesting the ACAB movement. This picture seems exciting, the boy is wearing his bag suggesting that they are about to go somewhere or just arriving somewhere. Where are they going

In conclusion, Ryan McGinley and Justine Kurland represented youth culture from an inside perspective, focussing on familiarity and personal experiences. Justine Kurland fairy-tale like photos ultimately being a representation of her past as a young runaway while also expressing her views and hatred of the American Dream. Ryan McGinley used his current place in life in a documentary way to capture the rebellious fun as well as a portal to express his emotions as a young gay may in the midst of the AIDS virus while just wanting to be young and free. Within my own work, i attempted to capture moments of careless fun e.g. hanging out with my friends, I also included images which I had taken at festivals and raves. In response to Kurland, I wanted top emulate the style of her very soft and light images in which I focussed on capturing inside to make it more authentic to my group. In relation to McGinley, I captured more grungy black and white images which tend to be at night time.

Write a bibliography using Harvard system

Bibliography

https://www.photopedagogy.com/uploads/5/0/0/9/50097419/week_5_abigail_solomon-godeau_inside_out.pdf

https://www.miandn.com/artists/justine-kurland

https://en.wikipedia.org/wiki/Justine_Kurland

https://en.wikipedia.org/wiki/Ryan_McGinley

Art Movements & Isms

Time period :

1880s-1920s

Key characteristics/ conventions :

trying to make photography more of an accepted art form.

1880s’- Photography was seen as less serious, photography is a optical process, the painters, sculptures saw photography as a quick way to create art (lazy). Painting, sculptures etc saw photography as a threat as they would’ve had to spend years on their practice.

Kodak- box camera, photography became popular and easy…

Machine process, was believed to be an unhuman art form so not accepted.

Influences:

Allegorical paintings

Peter Henry Emmerson- Emerson’s Naturalistic Photography

In 1889 Peter Henry Emerson (1856-1936) expounded his theory of Naturalistic Photography which the Pictorialist used to promote photography as an art rather than science. Their handcrafted prints were in visual opposition to the sharp b/w contrast of the commercial print

Artists associated:

Alfred Stieglitz

Clarence H White- represents female clothes, landscape

Frank Eugene- represents women sexualised, male gaze, naked.

Key works:

Methods/ techniques/ processes:

scratching the negatives- create fake brush strokes

Vaseline on the lenses – blurry, dream like

chemical process- in the dark room place tint over negative… manipulate tonality.

Realism/ straight photography

Straight Photography…were photographers who believed in the intrinsic qualities of the photographic medium and its ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures that were ‘photographic’ rather than ‘painterly’, they did not want to treat photography as a kind of monochrome painting. They abhorred handwork and soft focus and championed crisp focus with a wide depth-of-field.
Realism… (closely associated with ‘straight photography’) photography grew up with claims of having a special relationship to reality, and its premise, that the camera’s ability to record objectively the actual world as it appears in front of the lens was unquestioned. This supposed veracity of the photographic image has been challenged by critics as the photographer’s subjectivity (how he or she sees the world and chooses to photograph it) and the implosion of digital technology challenges this notion opening up many new possibilities for both interpretation and manipulation. A belief in the trustworthiness of the photograph is also fostered by the news media who rely on photographs to show the truth of what took place.

Time period:

1915- modern day

Key characteristics/ conventions :

Capturing things as they are

creating an abstract art from through shape.

Observations.

detailed sharply focused photos without manipulation.

Influences:

Cubism

Paul strand – cubism

people wanted to go back to the documentary side of photography

Artists associated:

Paul strand

Stieglitz

 Paul Strand and Alfred Stieglitz pioneered Straight photography in New York while the Hungarian-born László Moholy Nagy exploited pure photography to maximize the graphic structure of the camera-image. These straight or pure approaches to photography continue to define contemporary photographs, while being the foundation for many related movements, such as Documentary, Street photography, Photojournalism, and even later Abstract photography.

walker evans

“To photography truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or aren’t latent in all things”

Edward western

Key works:

Straight photography emphasizes and engages with the camera's own technical capability to produce images sharp in focus and rich in detail. The term generally refers to photographs that are not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it.

Methods/ techniques/ processes:

Modernism

Time period:

Key characteristics/ conventions :

Artists associated:

Key works:

Methods/ techniques/ processes:

Post Modernism

Postmodernism was the collective name given
to the shattering of modernism. In
photography this was the direct challenge to
the ideal of fine art photography whose values
were established on an anti-commercial stance.
At the end of 1970s artists suddenly began to
use the codes and conventions of commercial
photography against itself

Postmodernists see all kinds of things as text, including photographs, and insist that
all texts need to be read critically. For postmodernists a text is different from
modernists’ notion of a work. A work is singular, speaking in one voice, that of the
author, which leads the reader to look for one meaning. For postmodernists many
readings (interpretations and understandings) of a text or a work of art are
desirable - no single reading can be conclusive or complete. Postmodernism also explores power and the
way economic and social forces exert that
power by shaping the identities of individuals
and entire cultures. Unlike modernists,
postmodernists place little or no faith in the
unconscious as a source of creative and
personal authenticity. They value art not for
universality and timelessness but for being
imperfect, low-brow, accessible, disposable,
local and temporary. While it questions the
nature and extent of our freedom and
challenges our acquiescence to authority,
Postmodernism has been criticised for its
pessimism: it often critiques but equally often
fails to provide a positive vision or redefinition
of what it attacks.

 2nd world war disrupted modernity project. Anything that was new at beginning of 20th century e.g. tech, knowledge - Modernity used industrial revolution - industrial revolution turned humans against each other e.g. war, bombs, nuclear weapons - sceptics, no belief, no universal truth, - Post modern art, underlined as political motivation.

While reproduction is photography’s main
contribution to postmodernist practice, a
photograph is also readily adaptable; it can
be blown up, cropped, blurred, used in
newspapers, in a book, on a billboard. Other
formal devises used by postmodernists
practitioners are seriality, repetition,
appropriation, simulation or pastiche (which
is opposite to principles of modernity: the
autonomy, self-referentiality and
transcendence of the unique and precious
work of art.)

Time period:

1960s- now

university’s, America and Europe, people begin questioning the failing modernity project.

Key characteristics/ conventions :

Postmodernism makes references to things outside the
art work…e.g. political, cultural, social, historical,
psychological issues

Postmodernism favours the context of a work including
examining subject and the reception of the work by its
audience.

Postmodern work are aware of and make reference to
the previously hidden agendas of the art market and its
relation to art museums, dealers and critics;

Postmodern work often uses different approaches in the
construction of the work such as…eclecticism,
intertextuality, collaboration, pastiche, parody, recycling,
reconfiguration, bricolage

Artists associated:

Cindy Sherman

Her numerous alter egos cast doubts upon a definitive sense of self, and her copies of sourceless material subscribe to postmodernism's claim that originality has ceased. Deconstructing the myths we have about ourselves and our surroundings, Sherman's work is an ideal example of postmodern art.

Richard Prince

Barbara Kruger

Associated with postmodern Feminist art as well as Conceptual art, Kruger combines tactics like appropriation with her characteristic wit and direct commentary in order to communicate with the viewer and encourage the interrogation of contemporary circumstances.

Sherrie Levine

Where is originality? Parody of walker Evans

In 1981, Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism. Far from a high-concept cheap shot, Levine’s works from this series tell the story of our perpetually dashed hopes to create meaning, the inability to recapture the past, and our own lost illusions.

Laurie Simmons

Martha Rosler

Walter Benjamin

In the 1930s, cultural theorists, Walter
Benjamin wrote two essays on photography
that are frequently cited by current critics.
In these essays Benjamin stressed aspects
of the photographic medium different from
those that modernist photographers, like
Paul Strand and Edward Weston were
advocating. While they heralded the
honesty of the medium and the infinite
detail of the negative and the beautiful
photographic print, Benjamin pointed out,
that unlike the painting, the photograph is
infinitely reproducible.

Key works:

Tableaux-

Tableaux photography is a style of photography in which a pictorial narrative is conveyed through a single image as opposed to a series of images which tell a story such as in photojournalism and documentary photography. This style is sometimes also referred to as ‘staged’ or ‘constructed photography’ and tableaux photographs makes
references to fables, fairy tales, myths and unreal and real events from a variety of sources such as paintings, film, theatre, literature and the media. Other tableaux photographs offer a much more ambiguous and open-ended description of something that are subjective to
interpretation by the viewer. Tableaux photographs are mainly exhibited in fine art galleries and museums where they are considered alongside other works of art.
Tableau photography involves a performance
enacted before the camera and embraces
studio portraiture and other more or less
elaborate peopled scenarios in constructed
settings directed or manipulated by the
photographer to suggest a story. The word
tableau derives from tableaux vivant (plural)
which in French means ‘living picture’ and the
term describes staged groups of artist’s
models often using dramatic costumes,
carefully posed, motionless without speaking
and theatrically lit, recreating paintings ‘on
stage’. Before radio, film and television,
tableaux vivants were popular forms of
entertainment in the Victorian and Edwardian
era.

Methods/ techniques/ processes:

In my project i will be documenting the change in youth and lifestyle today in Jersey compared to the 20th century which prioritised adults over youth.

Statement of intent

In my personal study, I want to capture the Jersey youth culture, I will be focussing on what teenagers do on such a small island where there isn’t much to do. I have taken inspiration from artists such as Justine Kirkland, Simon Wheatley as well as images from Pinterest.

This topic matters to me because I feel in Jersey, the youth are in some way looked down on and seen as badly behaves e.g. drinking, partying, having bonfires… However, as a teenager in jersey, we are very limited with things to do. Representation of Jersey teenagers is important to me as we often feel we are missing out compared to people from places such as England and have to create our own fun… In my project I will also be doing a comparison of youth in the early 1900’s as well as their representation.

I have began my project by researching different photographers such as Justine Kirkland, I have looked online and compiled a collected of her images which I feel correlate with my theme. As well as this, I have been doing research at the Société and looking into images of, younger people, families and general group photos , where I have discovered that children were often photographed in a very formal way, as well as a very set up way which don’t really show how children are. To develop my project, I will be juxtaposing images from the archive with images of my own to show the contrast between representation of youth back then compared to now

I have already began researching my project and plan to start photographing on the 26th of November. I have gathered who i am going to include in my images which are a mix of boys and girls. I have been looking around locations for possible shoots such as Alleys in St Helier, the sand dunes, a peoples houses…

Inspo/mood board

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Environmental Portraits

Identity

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My second personal study was identity, I got inspiration from Annegret Soltau a German visual artist. Although i like the idea of this, i believe the images are quite boring on a computer compared to in real life hen you can see things such as the stitching details.

Anthropocene

These images are inspired by Andreas Frank, while being well thought out, still feel to me as if they are lacking. If i were to do it again i would delete the writing inspired by Barbara Kruger and leave the image to be interpreted by the viewer

My rock

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The my rock project turned out very well, i enjoyed creating a zine and learning to use InDesign. For this project, we photographed different rocks and general coast related things in various places around Jersey.

How does Jono Rotman and Danny Alexander use portraiture to represent different identities.

• Does the essay address its hypothesis?

yes, the essay addresses its hypothesis by making a link between themselves, tattoos and identity. They highlight the prejudice towards them as well as the signifiers let off.

• Does it provide new knowledge and understanding?

Yes, the person has researched the history of tattoos and the origins. This shows they have done their research giving them first of a all a broader understanding of what their project means but also a greater understanding of the importance.

• Is the essay well structured with a sense of an introduction, paragraphs and a conclusion?

Yes, the introduction gives a clear explanation to what they will be discussing and also a strong reason to why they have chosen this topic. The paragraphs are spaced nicely, new paragraphs for each new thing they’re taking about. The conclusion is good as it is honest of the photographers work and also links back to the original statement.

• Use and flow of language, prose, punctuation, spelling.

The essay contains high level vocabulary and correct punctuation and spelling.

• Analysis of artist’s oeuvre (body of work) and key work(s).

They have included images, given strong analysis’s and even quotes the artists.

• Evidence of wider reading with reference to art history/ theory, political discourse and/or socio-economical context.

Discusses history e.g. the history and symbols behind tattoos.

• Use of direct quotes, summary or commentary from others to make an informed and critical argument.

quotes from the artist

• Use of referencing system (eg. Harvard) and a bibliography.

they have included a bibliography on the final page

• Use of illustrations with captions listing name of artist, title of work and year of production.

Yes they have referred to the name of the image and the artist.

There are three island territories within the British Isles that are known as Crown Dependencies; these are the Bailiwicks of Jersey and Guernsey which make up Channel Islands, and the Isle of Man. The Crown Dependencies are not part of the United Kingdom, but are self-governing possessions of the British Crown.

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The Bailiwick of Jersey is a British Crown dependency, which means that it is not part of the UK but is rather a self-governing possession of the British Crown. However, the UK Government is constitutionally responsible for its defence and international representation.

When Duke William the Conqueror became King of England in 1066, the island remained part of the Norman possessions. However, in 1204, when Normandy was finally returned to the French king, the island remained a possession of the English crown, though never incorporated into England.

In each Bailiwick The Queen’s personal representative is the Lieutenant Governor, who since the mid-eighteenth century has acted as the channel of communication between the Sovereign and the Channel Islands’ government.

The  two Crown Dependencies have their own legislative assemblies as well as their own administrative, fiscal and legal systems. They have wide powers of self-government, although primary legislation passed by the assemblies requires approval by The Queen in Council (Privy Council).

The United Kingdom Government is responsible for the defence and international relations of the Islands and the Crown is ultimately responsible for  good governance.

In the Channel Islands The Queen is known as The Duke of Normandy. At official functions, islanders raise the loyal toast to ‘The Duke of Normandy, our Queen’.

The Queen has visited the islands on various occasions, most recently in May 2005 to mark the 60th anniversary of their liberation from German occupation.

inwards vs outward

negative vs positive

closure vs openness

isolation vs connectedness

autonomy vs dependence