Maquilla sector in Mexico essays

Maquilla sector in Mexico essays In the twentieth century, exportled industrialization fuelled by foreign investment and technology (ELIFIT) has become an economic and social development strategy for many countries of Third World. In the 1950s and 1960s, a group of Latin American and East Asian countries adopted such a strategy and allowed U.S. and European companies to use their cheap labor with the hope that this would lead to economic development. For East Asian countries, originally Hong Kong, Singapore, Taiwan, and South Korea, this strategy worked well and made a substantial contribution for countries economic development. For Mexico, on the other hand, ELIFIT strategy did bring an economic growth to the country but it failed to convert this growth into development. Why would such a strategy work well for East Asian countries but not for Mexico? Was there anything the Government couldve done in order to achieve a better level of development? The first phase in the maquila industrys brief history began in 1965 with the Border Industrialization Program (BIP). President Diaz initiated the program the year after his Minister of Industry and Commerce visited Asia, where U.S. and European multinational corporations were rapidly setting up assembly plants. Copying the structure of the new export processing zones in Singapore, Hong Kong, Taiwan, and the Philippines, Diaz extended the limited free trade zone to the entire northern border of Mexico. Initially they had to be located within 12.5 miles of the border, but in 1972 the administration of Luis Echeverria eliminated this restriction, prohibiting maquilas only in Mexicos highly industrialized three largest cities: Mexico City, Guadalajara, and Monterrey . Maquila is a word of Arabic origin, meaning the portion of grain or oil a miller receives as payment for the milling. In broader economic terms, it would be an activity in which the owner of the raw material hires ...

Funk Art Movement, From Ceramics to Found Objects

Funk Art Movement, From Ceramics to Found Objects By the middle of the 1950s, abstract expressionism had held sway in the art world for a full decade, and there existed certain artists who felt the adulation had gone on for roughly nine years too long. In an uncoordinated artistic rebellion, a number of new movements began to gain traction. The one characteristic these movements had in common was shunning the abstract in favor of the tangible. From this, the delightfully-named Funk Art movement was born. Origins of the Funk Art  Name The romantic version of Funk Arts etymology says it came from jazz music, where funky was a term of approbation. Jazz is also perceived as unrefined and especially with late 50s free jazz unorthodox. This fits neatly, for Funk Art was nothing if not unrefined and unorthodox. However, it is probably closer to the truth to say that Funk Art came from the original, negative meaning of funk: a powerful stench, or an assault on ones senses. Whichever version you believe, the baptism occurred in 1967, when UC Berkeley Art History professor and Founding Director of the Berkeley Art Museum, Peter Selz, curated the Funk exhibition. Where Funk Art Was Created The movement got its start in the San Francisco Bay area, specifically at the University of California, Davis. In fact, many of the artists who participated in Funk Art were on the studio art faculty. Funk Art never outgrew being a regional movement, which is just as well. The Bay Area, the epicenter of the underground, was probably the one place in which it could have thrived, let alone survived. How Long the Movement Lasted Funk Arts heyday was in the mid- to late-1960s. Naturally, its beginnings were much earlier; the (very) late-1950s seem to be the point of origin. By the end of the 1970s, things were pretty much over as far as artistic movements go. To include all possibilities, it can be said Funk Art was produced for no more than two decades and 15 years would be more realistic. It was fun while it lasted, but Funk did not have a long life. The Key Characteristics of Funk Art Found and everyday objectsAutobiographical subjects(Frequently inappropriate) humorAudience engagementElevation of ceramics Historic Precedent Funk was preceded by another Bay Area art movement known as Beat Era Funk or Funk Assemblage. Its attitude was more surrealistic than funky, but it did add a few notes to Funk. Despite also being regional, Beat Era Funk never garnered much popularity. In terms of humor and subject matter, Funk Arts lineage goes straight back to Dada, while its aspects of collage and assemblage hearken to Pablo Picassos and Georges Braques Synthetic Cubism. Artists Associated with Funk Art Robert ArnesonWallace BermanBruce ConnerRoy De ForestJay DeFeoViola FreyDavid GilhoolyWally HedrickRobert H. HudsonJessEd KienholzManuel NeriGladys NilssonJim NuttPeter SaulRichard ShawWilliam T. Wiley Sources Albright, Thomas. Art in the San Francisco Bay Area: 1945 to 1980, Berkeley: University of California Press, 1985.Nelson, A. G. You (exh. cat.),  Davis: University of California Press, 2007.See: The Early Years of the UC Davis Studio Art FacultyOral history interview with Bruce Nauman, 1980 May 27-30,  Archives of American Art, Smithsonian InstitutionOral history interview with Roy De Forest, 2004 Apr. 7-June 30,  Archives of American Art, Smithsonian InstitutionSelz, Peter. Funk (exh. cat.).  Berkeley: University of California Press, 1967.Tinti, Mary M. Funk Art,  Grove Art Online, accessed 25 Apr. 2012.