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TopIf anything was art, nothing was art. (Kaprow, 2003: XXVII)
With art revolving around planet Earth as if it were a new satellite (Lévy, 2000), one feels the cultural industry surrendered and receptive to the development of entertainment-oriented applications, as a result of experimentation with technologies. If the separation between art and entertainment was initially accepted as natural, then it would be time to understand that all art is entertainment, but not all entertainment is art (Geada, 1987). Caught up in the technological tide of the second half of the twentieth century, the art world of the 1980s (essentially from New York) gave excessive attention to the artist's promotional image and commercial transactions of art pieces (Goldberg, 2012). The same author (idem) refers to a new cult of personality of celebrity artists of the 1980s and the consequences in the relationship with the media. Gombrich (1995) appeals to “conceptual” art, remembering that all artistic work originates in the human mind, in response to the world more than the visible world itself.
Marcuse (as cited in Geada, 1987) states industrial civilization as responsible for the separation of production time and free time, enunciating cinema and television as spectacular and transmitter holders of entertainment techniques given controlled and profitable free time occupation. Concepts of leisure and idleness emerged as a consequence of this separation:
Leisure is a product of industrial civilization. It is the result of increased productivity and reduction in work time, due for the most part to scientific and technical advances. (…) It is above all seen as a regenerative means for the labour force. But while it is true that leisure is designed as a complement to work – as a result of increased productivity and as a regenerative means – it is considered uniquely as a time and place for personal fulfilment and as a time and place for consumption. Its relation with industrialization is still, at this point, of complementarity. If work is production, leisure is consumption. And while the expressions “leisure industry” or “tourist industry” have occasionally been used, market and industrial production analyses of leisure do not seem to have been much developed in the leisure field. (D’amours, 1998: 20)