Le Journal

LeBron James, sidelined since training camp with a persistent sciatica injury, has finally shed light on where his head is at regarding his next NBA contract. After missing the entire preseason and the Lakers’ first eleven games, the 39-year-old star used his downtime to reflect and on Uninterrupted with Marques Brownlee, he made one thing clear: his passion for basketball still outweighs any paycheck. “I think even with me being two decades in plus, being a professional. Yeah. You know, my sport, I still will go out and play for free. Yeah. You know, because that’s because I love it,” James said. The line, simple yet powerful, came from a player who’s earned over half a billion dollars in career salary, suggesting his next move may be guided more by legacy than by money. That mindset lands at a fascinating time. The Lakers declined to offer James an extension this offseason, even as he exercised his $52.6 million player option. According to ESPN’s Brian Windhorst, the team wanted to preserve roster flexibility around Luka Doncic a choice that left LeBron’s long-term future in Los Angeles uncertain. Yet instead of frustration, the veteran’s tone was reflective, hinting that he may be open to unconventional deals if the right competitive situation presents itself. He further illustrated his point by explaining how his commitment to basketball extends far beyond the official NBA schedule. “But, you know, I play in the summertime. I train in the summertime. You know, I still go out for the love of it. Yeah. More than the compensation of it.” This ongoing dedication to training and playing without any contractual obligation reinforces the authenticity of his words, painting a picture of an athlete whose identity is deeply rooted in the sport itself, not just the paycheck that comes with it. However, James was very clear that his love for the game does not mean he is unaware of his immense professional value. He immediately followed his heartfelt comments with a sharp business perspective. “Now, negotiations and things like that have I’m a professional, so I get compensated for what I do and what I bring to the table. So, I’m not blinded by that.” This statement serves as a direct message that he fully expects to be paid fairly for his unparalleled production and impact, balancing his personal passion with the realities of the sport as a business. Credits: Imagn This reflective period for James occurs amidst a backdrop of significant change within the Lakers organization. The team traded his longtime co star Anthony Davis to acquire Luka Doncic, signaling a clear shift toward a younger core. Lakers GM Rob Pelinka has publicly stated that James has “earned that right” to choose his own story for the final chapter of his career, whether that involves staying with the Lakers or not. Further adding to the narrative, NBA legend Charles Barkley publicly advised James to find a new team. Barkley argued that the Lakers have not been truly successful in recent years and that the team now rightly belongs to Luka Doncic. This external opinion highlights the perception that James’ timeline for winning now may not align with the Lakers’ longer-term build around their younger superstar. Despite the off-court chatter, James is finally taking concrete steps back to the basketball court. He has been officially assigned to the South Bay Lakers, the team’s G League affiliate. This move is a standard part of the rehabilitation process, allowing him to participate in his first full practice of the season, including intensive five-on-five drills, as he works toward his season debut. A Step Towards Return The assignment to South Bay marks the most significant progress in James’ recovery from the sciatica issue that has plagued him since before the preseason. The Lakers have held an impressive eight-and-three record without him, with guard Austin Reaves stepping up to average over thirty points per game. Teammates are confident in James’ ability to…

October was Filipino American History Month, and to mark the occasion the Queens Museum extended its popular exhibition dedicated to the work of the Filipino artist duo Abang-guard, also known as Maureen Catbagan (b. Quezon City, Philippines, 1975) and Jevijoe Vitug (b. Pampanga, Philippines, 1977), who both work as guards at the Metropolitan Museum of Art and have collaborated since 2017. “Abang-guard: Makibaka” takes its title from a Tagalog word for “coming together for change,” and this strongly political show uses performance, painting and sculpture to explore the winds of change through the lens of Filipino history and that of the Queens Museum. We caught up with Catbagan and Vitug to hear more about the exhibition, which is now open until January 18. You both met as guards at the Met in 2017. How does that origin shape the way you create and present work? We are both Filipinos, and our collaborative name Abang-guard is simultaneously a play on avant-garde and the Tagalog word “abang,” which translates as waiting or watchful. The physical act of standing guard automatically assigns importance and value to whatever is behind it, be it a priceless object, VIP, or monument. The sites we’ve performed at have included a sari-sari (small grocery) store, a shuttered community center, the Rizal Social Club (now an empty lot) and art venues ranging from our Abang-guard Street Museum, giving the general public the chance to create and show art, to major museums worldwide. Out of typical context, standing guard can seem humorous and absurd. We want the performance to lead to a deeper examination of what is valued in our day-to-day lives and communities and what is overlooked, erased and considered disposable. The Queens Museum exhibition coincides with the 60th anniversary of the World’s Fair. Why does 1965 function as such a critical nexus in your practice? The 1964-1965 New York World’s Fair was the first time the Philippines and other non-Western countries were invited to participate. We took this cultural moment as the starting point for our exhibition and our research in the archives at the Queens Museum as well as fieldwork in California. Three pivotal moments in Filipino American history occurred in 1965, the same year as the World’s Fair: the 1965 Delano Grape Strike, which was one of the largest solidarity and labor movements between Mexican and Filipino farmworkers in the United States; the Immigration and Nationality Act of 1965, also known as the Hart-Celler Act; and the launch of Medicaid and Medicare programs, which paved the way for the mass recruitment of around 25,000 Filipino nurses to fill acute domestic staffing shortages. Also, during the mid-60s, urban redevelopment plans divided immigrant neighborhoods, including the Crosstown Freeway in Stockton, California, leading to the erasure of the oldest Little Manila in the United States. The replica pavilion filled with time capsules and care packages pays homage to the Delano Grape Strike. How do you see that strike’s legacy resonating with labor struggles today? The strike lasted for almost five years and gained national momentum due to its persistence. It won farmworkers union contracts with better wages, healthcare benefits and protections from pesticides. These benefits, such as job protection and environmental safety, are currently being diminished. It’s important to highlight this history to show that there is a successful playbook for collective action and resistance. Mexican activist leaders Cesar Chavez and Dolores Huerta are most often referenced in historical accounts of the Delano Grape Strike, but here the names of 75 of the thousands of unsung Filipino organizers and strikers, including Larry Itliong, who initiated the walkout, are inscribed on the missile-shaped time capsules. They are placed in one of the exhibition’s main sculptures, resembling the roof of the Philippine Pavilion that’s shaped like a salakot, a traditional farmer’s hat. Each is…

Any ideal winter retreat out west includes hot chocolate by a fire, skiing down freshly-powdered slopes and plenty of downtime in a fluffy robe. However, when the lifts get busy and the après-ski scene gets rowdy, returning to a quiet and relaxed home base becomes the biggest luxury of all. While large resorts offer perfectly lovely amenities like ski-in and ski-out access, bustling bars and on-site restaurants, you’re also bound to encounter chaotic crowds, noisy hallways and less attentive service. From Park City, Utah, to Telluride, Colorado, several mountain towns turn up the charm with boutique hotels that offer privacy and intimacy. Technically, any property with fewer than 100 rooms is considered boutique, but we’re interested in the uber boutique—think 35 accommodations or less. In Oregon, Thistledown on Oak takes the cake with only three rooms available in its 19th-century-themed hotel, while Aspen’s The Residence Hotel comes in at a close second with just seven bespoke suites. Whether you’re looking to stay in a historic schoolhouse with vintage charm or a modern oasis in the middle of South Lake Tahoe, we’ve rounded up the best uber boutique hotels for a winter escape out west. The Best Uber Boutique Hotels to Visit This Winter Washington School House Hotel The Residence Hotel Thistledown on Oak, Boutique Hotel N+ P Boutique Lodge Inn at Lost Creek Desolation Hotel Washington School House Hotel 543 Park Ave, Park City, UT 84060 Washington School House is the crown jewel of Park City’s hospitality scene. This 12-room property, designed with antique accents and French Revival decor, is located within a historic, refurbished 1889 schoolhouse. Though each room is unique, with features like spiral staircases and 16-foot-high ceilings, consistent amenities include heated bathroom floors, custom Pratesi white linens and fluffy Habidecor robes. The Living Room lobby lounge is the heart of the hotel, featuring a stunning antler chandelier dripping in Swarovski crystals. In addition to the complimentary made-to-order breakfast, this is also where you can sit down for martinis or a mountain margarita—all of which are included in the nightly rate. There is technically no on-site restaurant, but guests can book a private 10-course dining experience curated by chef Ryan Frye. The ski valet service, complete with heated boot drying racks, is a must for winter sports lovers, but if you’re not interested in hitting the nearby lift, spend your day soaking in the outdoor hot tubs or heated pool. You can also walk to everything in downtown Park City, including popular French eatery Le Depot Brasserie and award-winning Alpine Distilling. Washington School House Hotel Washington School House Hotel The Residence Hotel 305 S Galena St, Aspen, CO 81611 Aspen is known for its A-list visitors, high-end shopping and five-star ski resorts. However, if you’re looking to avoid chaotic lobbies and crowded hotel bars, book one of the seven rooms at The Residence Hotel. Located in a nearly 140-year-old building in the heart of Aspen, this locally owned property takes guests back in time with antique European furniture, fabric-covered ceilings, sparkling chandeliers, and wood-burning fireplaces. Each room is completely unique, with themes ranging from a chic French Studio to a cozy Ralph Lauren Suite. During winter, admire the snowy scene from the comfort of your room while listening to the crackling wood of a warm fire with a cup of hot cocoa in hand. Since The Residence is right at the base of Ajax Mountain, you can also enjoy premium ski access in between shopping sprees at Kemo Sabe. The Residence Hotel The Residence Hotel Thistledown on Oak, Boutique Hotel 116 3rd St, Hood River, OR 97031 Enjoy a cozy retreat when you stay at this 19th-century-themed hotel in Oregon. Thistledown on Oak is composed of just three rooms, all of which boast maximalist charm and homey accents. Exposed brick walls, vintage paintings and marble fireplaces work in…

Martin Wilson, featured on this year’s Art Power Index, stepped into the CEO role at Phillips at a moment when the art market was testing its own resilience. Global sales were softening, regulatory scrutiny was rising and a generational shift in collector behavior was accelerating. For Wilson, a seasoned art lawyer and the author of Art Law and the Business of Art, the challenge was clear: steady the ship while reengineering Phillips for a more agile, digitally fluent era of collecting. Since his appointment, Wilson has approached this mandate with a pragmatism rooted in deep industry knowledge and a willingness to experiment. He’s reshaped internal culture, leaned into Phillips’ contemporary identity and launched data-driven initiatives like Priority Bidding, a pre-sale model that rewards early engagement and gives the auction house more detailed insights into market demand. It’s a small structural change with outsized implications, hinting at how auction houses might reimagine the balance between access, transparency and excitement in an increasingly global and digital marketplace. As younger collectors redefine the power dynamics of the art world and reshape auction houses, innovation—not consolidation—will define Phillips’ future, says Wilson. Against this backdrop emerges a clear portrait of an executive navigating between tradition and transformation, one who believes that the most enduring auction houses will be those dynamic enough to evolve with their audience, yet steadfast enough to preserve what makes the hammer fall so compelling. What do you see as the most transformative shift in the art world power dynamics over the past year, and how has it impacted your own work or strategy? The biggest shift has been watching younger collectors step into the spotlight. These new collectors aren’t just buying differently, they’re thinking differently. We’re seeing a real “taste transfer” happening alongside the “great wealth transfer.” The challenge for the market is to anticipate and understand the expectations of these new collectors, both in terms of their taste but also how they prefer to engage with the art market. It is at inflection points like this that opportunities for innovation present themselves. These younger collectors already identify with the Phillips contemporary brand, and our size and agility mean that we’ve been able to lean into that by launching initiatives like Dropshop and Priority Bidding. We are enjoying the opportunity to be an innovator, and these initiatives aim to reimagine the role of an auction house and speak directly to this new generation’s appetite for experience-led buying, transparency, immediacy and direct engagement. As the art market and industry continue to evolve, what role do you believe technology, globalization and changing collector demographics will play in reshaping traditional power structures? A shift in the traditional power structures is certainly taking place. The new generations of collectors do not feel constrained by geography or gatekeepers. Their marketplace and the source of their information are global and digital. Digital communication allows them to engage directly with artists and tastemakers. This gives them a level of confidence and self-sufficiency and makes them less reliant on advisors. The challenge for the art market is to engage with them and meet them on their terms and on their platform. It is not just a case of being online—we need to make the process of discovering, learning about and buying art online a genuine and immediate pleasure, whether it’s through a seamless online bidding experience, curated drops or data-driven tools like Priority Bidding. Because these new clients pride themselves on their digital self-sufficiency, the old hierarchies are giving way to something more fluid, democratic and inclusive, and that’s exciting. Looking ahead, what unrealized opportunity or unmet need in the art ecosystem are you most excited to tackle in the…

Sr.="https://observer.com/wp-content/uploads/sites/2/2025/11/Megan-Fox-Kelly.jpg?quality=80&w=970" alt='Professional portrait of Megan Fox Kelly, veteran art advisor, looking over her shoulder and smiling. The image includes "Observer 2025 Art Index" branding with her name and title "Founder & Principal, Megan Fox Kelly Art Advisory" on the right side.' width="970" height="647" data-caption='The longtime advisor and educator shares why the next generation of collectors must think like stewards, not just buyers. <span class="media-credit">By Benjamin Salesse, Courtesy of Megan Fox Kelly Art Advisory</span>'> Megan Fox Kelly, recognized on this year’s Art Power Index, has spent more than two decades shaping what it means to be an art advisor at the highest level. Through her eponymous firm, she manages more than $3.5 billion in art assets for collectors, estates and institutions, including the Robert Rauschenberg Foundation, the Terra Foundation for American Art and the estate of Robert De Niro Sr. Her practice bridges the worlds of finance, scholarship and collection stewardship, helping clients build and sustain cultural value across generations. As a former president of the Association of Professional Art Advisors, Fox Kelly has helped codify standards around transparency and ethics in a field once defined by opacity. Through her writing for Observer and her podcast Reading the Art World, she works to make the mechanics of collecting more intelligible to both new buyers and seasoned patrons, clarifying how strategy, governance and analysis can coexist with connoisseurship. Power in the art world is shifting through forces both familiar and newly urgent: technology, globalization and inheritance. For artists and collectors alike, the next great challenge, Fox Kelly argues, lies in legacy management: families suddenly responsible for vast collections and estates that will define cultural memory for decades to come. In this landscape, rigor and data-driven insight have become the hallmarks of serious advising, while collaboration across financial, legal and art world disciplines defines the market’s next phase. Her approach, as always, is pragmatic yet deeply informed by respect for art itself: think strategically, plan for the long term and treat stewardship as a form of authorship. What do you see as the most transformative shift in the art world power dynamics over the past year, and how has it impacted your own work or strategy? I think we’re not talking enough about the next generation—and I don’t just mean new collectors coming into the market. I mean heirs. People who are inheriting these massive family collections and have to figure out what to do with them—whether they’re selling, gifting to institutions or managing them as directed by their parents. At the same time, we’re seeing the same thing happen on the artist side. Faith Ringgold, Frank Stella, Richard Serra, Brice Marden and many others—really significant artists have died in the last two years, and their families are now tasked with managing not just vast bodies of work but entire legacies. Some had clear plans in place, but many didn’t. There’s this whole generation suddenly responsible for stewardship decisions that will shape how these artists are understood and valued going forward. That’s the shift. Legacy management has become as critical as acquisition, and most people aren’t prepared for it. As the art market and industry continue to evolve, what role do you believe technology, globalization and changing collector demographics will play in reshaping traditional power structures? Technology isn’t a novelty anymore—it’s essential. But here’s the thing: the data and analysis tools that exist are still pretty general. They’re good for broad market trends, but they’re not granular enough for the questions our clients are actually asking. If you’re managing a specific collection or an artist’s estate, you need bespoke analysis—what’s…