High school student at the local coffee shop after school
Long Island, 1956
Anja from my recent holiday campaign for The 2 bandits
Author: Mochizuki Gyokusen Shigeteru (Japanese, 1794-1852)
Date: 19th century
Medium: Ink and color on silk
Location: Museum of Fine Arts, Boston
"…the owner of the means of production must find a way of appropriating either the embodied capital which is the precondition of specific appropriation or the services of the holders of this capital. To possess the machines, he only needs economic capital; to appropriate them and use them in accordance with their specific purpose (defined by the cultural capital, of scientific or technical type, incorporated in them), he must have access to embodied cultural capital, either in person or by proxy. This is no doubt the basis of the ambiguous status of cadres (executives and engineers). If it is emphasized that they are not the possessors (in the strictly economic sense) of the means of production which they use, and that they derive profit from their own cultural capital only by selling the services and products which it makes possible, then they will be classified among the dominated groups; if it is emphasized that they draw their profits from the use of a particular form of capital, then they will be classified among the dominant groups. Everything suggests that as the cultural capital incorporated in the means of production increases (and with it the period of embodiment needed to acquire the means of appropriating it), so the collective strength of the holders of cultural capital would tend to increase – if the holders of the dominant type of capital (economic capital) were not able to set the holders of cultural capital in competition with one another. (They are, moreover, inclined to competition by the very conditions in which they are selected and trained, in particular by the logic of scholastic and recruitment competitions.)"
Pablo Picasso photographed in his studio near Cannes, France in 1956. The Thonet rocking chair in the distance appears in many of his paintings.