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Nowadays, there exists an ability to perceive the world facing such a phenomenon as globalization. These days, all individuals bear tight bonds with each other in different ways. In the era of the Internet and free access to information, in the era of actions with a duration of one click, one may receive whatever one wishes without any complicacy. Modern social media is too different from the traditional ones, preserving its key features but having a brand new wrapping.

Art Role of Social Media

Contemporary young artists as well as the older generations have the opportunity to use the YouTube service as part of their art space. They demonstrate the material online, using the channels for gathering the audience. That shows the economic side of art – being accessible and affordable streaming on YouTube can become profitable. Here, the dualistic nature of moneymaking is observed: without having to spend money, artists can earn with just the click of a digital mouse. That is the method of sharing modern art popular worldwide.

Thus, what is the name of one of the ways to gather humanity? As art critic Nicolas Bourriaud (2002) says, in daily lives, people meet the results of collective imagination supported by power because art reflects all the connections to the worlds and by its special method makes these “relationships to space and time material” (93-94).

To share a piece of art means to make it more real. Social media will assist in presenting one’s creation to other people. An artist simply should post that artwork at a social profile and wait – like-minded individuals will be found in no time. This applies to any topic – art, fashion, ecology, economics, etc. – the information placed on the Internet concerning any event will be seen by many. The problems of ecology, lack of food, new fashion trends, or whatsoever can be freely discussed in blogs or be the topic on a YouTube channel.

However, the modern period has another specialty: some authors create something from the prepared basis. All the verifying methods of making artworks likewise have the recourse taken from already produced forms. Modern consuming society forces traditional forms of media to transform into new ones. At present, it is not a single word about the basis of virgin material but of a way of applying the portions from the immense amount of production (Bourriaud 2002, 17- 18). Such processes as montage, collage, editing techniques allow making something just by maneuvering with the available matter. These devices build an “alert to the broader meanings of old material” (Wees 1993, 36). The main thing is to arouse the interest of the audience in some problem and to spread it widely. The understanding of collage is placed between compilation and appropriation because it has the greatest potential to challenge (Wees 1993, 45).

Delving into the historical facts, the origins of that experience may be found. Karl Marx talked in German Ideology about the difference between natural tools of production and tools of production created by civilization. For example, Marcel Duchamp exhibited a bottle rack in 1914 and used a mass-produced object as a “tool of production”, this way he brought capitalistic production into the sphere of art and found a method to turn products from one place into another (Bourriaud 2002, 23).

This leads to the following conclusion. The sentences from the human’s speech are constructed from the extant words and phrases. People use the material from the books read and music heard and transform it into the process of producing – that is the way of making them producers. Every single day, new paths to organize this production are invented. The artists of such a field are “agents of this evolution, the specialized workers of cultural reappropriation” (Bourriaud 2002, 24-25). All of these moments are a necessity due to the current time. The object not being brand new is not meant to be deprived of aesthetics or idea.

The vast majority of modern artists use the dodge of renewing something that already exists. One can have the opportunity to experience the next people from artists who use this method. Dominique Gonzalez-Foerster reveals the complex structures of the mental cinema through auto montage, which starts with an observation of the evolution of people’s ways of living. Gonzalez-Foerster writes that the technologization of interiors covers people’s relationship to sounds and images and turns the individual into a sort of something edited or mixed (Bourriaud 2002, 54-55).

The reference of Maurizio Cattelan to Kounellis is not unprovoked, as it may be seen clearly that Arte Povera represents the principal perceptible part of Cattelan's work, taking into account the composition of his images and the spatial arrangement of the readymade elements. The fact is that mass-produced objects or technology are used (Bourriaud 2002, 60-61). The images Pierre Joseph has worked at must be experienced: they must be appropriated and reanimated and included in new arrangements. In other words, meanings must be displaced. That is how tiny details create enormous movements. Nicolas Bourriaud (2002) asks why many artists strive to remake the components of the visual universe, answering to himself “To produce an alternative space and time” (65).

Talking about cinema the same fact should be pointed out: creating a film from the parts of earlier films is quite an old practice. In 1978, a French distributor invented an account of the Dreyfus occasion with pre-existing cadres from the parade in France, with streets, boats, and oral commentary beyond it (Wees 1993, 34-35). Now, it all is not just a chronicle as can be noticed; however, it is a combination of separate frames and sounds in a better consequence. Michael Jackson used in “Man in the Mirror” video montage manipulation playing on the perception of the social problem of the audience. The artwork is outplayed as a method of driving the attention of mankind to the specified topic (the explosion shot showed at the exact moment in the chorus) (Wees 1993, 40).

Apart from that, Jackson being a celebrity performs “They Don't Care About Us”, speaking of major corporations demonstrating the power of a star to set a specific direction using status and art. Certainly, the montage turns several shots into a splendid work. However, unfortunately, it makes the story lose some honesty. The “absence of “beauty” makes for a greater quotient of “truth” (Arthur 2000, 61). The problems are as follows. The image sources that are mostly caught by the avant-garde are those profitable films, TV shows, and advertising.

Some specific example is The Life and Times of Rosie the Riveter (1980), where women listen to FDR’s speech onto a radio, although it becomes clear that these women are present-time individuals (Arthur 2000, 65). Social media in this situation plays a role of means that incorporate image, collage, and montage, editing techniques, footage, newsreel, and TV shows together to create a perfect image that the audience should like. It is a process directed rather satisfy a customer than, to tell the truth.

As Nicolas Bourriaud (2000) says, postproduction belongs to the tertiary sector, as opposed to the industrial or agricultural sector, i.e., the production of raw materials (13). In the fast world, everything should be rapid. Traditional media cannot execute all the duties, so it is gradually replaced with new ones. Everyone can see, read, and listen to anything possible on the Internet. Streamline video will show the news right at the moment it takes place. Editions of favorite publications printed turn into digital ones, and so forth.


Finally, it is easy to see for now that art is just a created thing no more. In the modern world, it should be processed, divided into parts (best of which will be juncture again), analyzed, decorated, and only after these methods (and even more) the creation may be released. Someone thinks that it is no necessity to create anything new, thus these people just imitate or create from the ready basis. Then the only thing that is left to do is to let the world see what has been created. People can perform this with Internet assistance and find worshipers in just an hour. They may show the whole life in pictures with the help of Instagram, to tell all the thoughts using Twitter, and to communicate with anyone in such a social network as Facebook.

This decision about the purpose and method of action must be made independently. Eventually, art is just a way to express some ideas hidden inside and this is the most amazing thing about it. The fact that media is connected tightly with the postproduction should not be taken as something amiss, because it is a resource to remediate well albeit pre-existent projects.

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