A Quote by Damien Hirst

Commercials are so contemporary and up to date that when you're involved in that visual world, you can't really go backwards. — © Damien Hirst
Commercials are so contemporary and up to date that when you're involved in that visual world, you can't really go backwards.
I learned to run backwards from Muhammad Ali. He told me about running backwards because you try to imitate everything you do in the ring, so sometimes you back up. So you have to train your legs to go backwards.
I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.
I grew up watching movies and television, and one day, when I was really young, I told my mom I wanted to become an actor, and she was really supportive and got me involved in local theater and commercials.
I grew up watching movies and television, and one day when I was really young I told my mom I wanted to become an actor, and she was really supportive and got me involved in local theater and commercials. From there I moved up to auditioning for movies and television.
It's a natural push and pull that exists in any sports organization. When you are in a big market and then you win, and you're up against the Yankees, and ratings are what they are and attendance is what it is, no one wants to go backwards; as a business, you don't want to go backwards.
I grew up watching people and companies commercialize Black History Month. I watched old McDonald's commercials, and they'd blacken up the commercials for 28 days then go back to normal in March. It got annoying to me.
The richness of our contemporary visual world must be seen as a danger. It is an overwhelming and oppressive world. A world that manifests itself fundamentally through the image is only a few steps from totalitarian manipulation.
I don't like most contemporary art. But I think if you talked to any person who's heavily involved in contemporary art, they'd say the same thing. If you go to a biennale, you don't expect to like much of it.
Both of us don't go backwards and I think that is the key to the fight. Whoever ends up going backwards is going to lose.
For most of the movies that I've done, we've shot in a contemporary house, in contemporary clothes, speaking in a contemporary way. So, I really enjoy that. It really helps.
Really, Sage? A date?” I sighed. “Yes, Adrian. A date.” “A real date. Not, like, doing homework together,” he added. “I mean like where you go out to a movie or something. And a movie that’s not part of a school assignment. Or about something boring.” “A real date.
I don't really... go to 'the opening of an envelope.' I don't really turn up to all the events, you know what I mean? If I'm involved, I'll go, and if there's a good friend who needs support, I'll go, but otherwise... I don't go. I'm probably just a bit like my grandparents; I like staying in.
I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.
I was stuck at home in bed with me and got more and more involved with the Internet. I used it to keep in contact with friends and to make sure I was up to date with everything that was going on in the world.
I go to contemporary galleries all around the world when I can. There's always something historical and something contemporary; those are my rock references.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
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