but a t some point he lost it, and is not because
of his stinginess to buy players, our core is good and has been for sometime now, his biggest problem was adaptation, change to the new EPL, his
philosophy dating back 20 years does not work anymore and he knows it, because
of this his biggest flaw all others came out to light,
lack of rotation
of his players favoring some over others, stubbornness that applies to his transfer policy buying for the future just as he had 20 more years ahead, players
playing out
of their natural positions, ARSENAL FLOPS who knows under other Managers they could have been great, for some reason they were signed in the first place, they must had some talent, best example is Campbell....
i'm often faced with the question «what have you achieved with your so called branded beautiful football» and in my quiet time, i think about it and i came up with a conclusion that all teams vie for one main reason,» to win trophies» which we have
lacked in the last six years.As an Economist, i understand Arsene wenger's mentality,
philosophy, youth developmental project, rebuilding and most especially, the sole aim
of puting Arsenal's financial stability in order but he should also understand that the only consolation we fans get after paying to watch Arsenal despite the high ticket prices which's about the costliest in the league is winning trophies, the ability to say amongst other footballing fans that we have a great squad that
plays good football and win trophies.That's what i'm talking about!!!
Oppenheim speaks
of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love
of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics
of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics
of the 1950s, a
lack of art education and
philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona
of a good student,
playing by the rules
of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College
of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University
of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use
of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance
of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods
of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental
of one's own work, critical dissent, impact
of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations
of objects, reading and writing, form and content, and phases
of development.