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[布莱恩·赞尼斯尼克]
我准备好了......

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【镜头后的男人】
你准备好了？好的。

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【赞尼斯尼克】
我意思是，如果你想的话，都行。

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我在纽约州立大学当老师来着，

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就在纽约城外。

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有个学生从来不上课。

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这没啥。

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有一天他在下午上课时间来了，

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他说，“我需要你在这张表上签字，

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证明你允许我退选你的课。”

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然后我说，
“你一个学期都没来上过课，”

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“我不会在最后一天让你退课的。”

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“这门课你挂了。”

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然后他说，
“签字。”

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我跟他说，

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“这又不是你的课。”

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“我才是老师。”

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当时差不多有20个学生看着吧。

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然后他朝我走得更近了。

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这时候我不得不站起来，

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然后他就用胸撞了我。

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把我扔到墙上，

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说“签了这张该死的表！”

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然后他就......

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把我书桌上的东西都扑腾掉了。

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他说，
“你都不算个真正的老师！”

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“你是个艺术老师！”

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“你们都逊毙了！”

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“艺术逊毙了！”

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我让他挂科了。

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我让这个学生挂科了。

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【”布莱恩·赞尼斯尼克的大轴心“】

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我觉得人们可能对在纽约

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当艺术家这事儿有幻想。

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在某种程度上，
我觉得我把这种幻想变成了现实。

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我得以每天做作品。

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得以和很棒的人

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以及很棒的机构合作。

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但从另一方面来说，

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我认为在纽约有份工作

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和生活这件事，有时候

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并不能完全满足一个人的期待。

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产出一件作品并

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资助这件作品，

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靠的真的是这个艺术家。

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要成为一个艺术家，
你要投入一切，

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不去担心钱的事情。

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我会做那种需要我
收集几千件物品的项目。

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我会整理摆放它们，
给它们拍照，

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挪动它们，
来搭起一个装置。

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我喜欢万物有灵论——

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即一个无生命的物体是有

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灵魂或性格的。

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我觉得我真得很着迷于

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收集这些物品所带来的

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那种神秘感或冒险一般的刺激。

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在艺术世界里你很容易
看起来成功了，

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但实际上一点都没做成。

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我是说，你可以有很多
机构的支持，

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但是你从那里得不到多少钱。

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我记得我在一个画廊
办过一个展，

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我当时做了一个巨大的装置。

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我开始做这些雕塑。

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有一些嵌有物件的高柱子。

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如果我卖了它们,
只需要把它们翻个个儿就好，

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把它们送到想要它们的人那，

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给我写张支票，

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这些该死的柱子就是你的了。

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我开始搭这些柱子，

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这时候制造队的人来见我了，

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跟我说，”出了个问题。“

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我说，”啥问题？“

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他们说，
”我们担心你的柱子

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会倒下

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砸死人。”

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我说，
“好吧，怎么解决这个问题？”

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他们说，

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“我们得把底座
闩在水泥地里。”

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我说，“展览完事以后
我们怎么把这些闩子弄出来？”

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他们说，
“哦，我们就直接毁了它。”

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我说，

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“我的天，我能卖的柱子就这下场。”

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“我得毁了它们。”

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