The Nasher Museum of Art Presents

Something All Our Own: The Grant Hill

Collection of African American Art

 

Exhibition Features Works by Romare Bearden, Elizabeth Catlett,

John Biggers, Edward Jackson, John Coleman, Arthello Beck Jr.,

Hughie Lee-Smith, Malcolm Brown and Phoebe Beasley

 

Durham, N.C., January 17, 2006—The Nasher Museum of Art at Duke University will present an exhibition of African American art from the collection of NBA basketball player and Duke graduate Grant Hill on March 4, 2006. Something All Our Own: The Grant Hill Collection of African American Art is on view through July 16.

The Nasher Museum of Art is a major new arts center on Duke’s campus that serves the university, Research Triangle area and surrounding region with exhibitions and educational programs.

 

Something All Our Own includes 46 paintings, collages, sculptures and works on paper by the most important African-American artists of the 20th century.  The exhibition includes collages, prints, sculptures and paintings by Romare Bearden, Elizabeth Catlett and John Biggers. Alongside those works are moody, solitary paintings by Hughie Lee-Smith, paintings by self-taught artist John Coleman and sketches and paintings by the late Arthello Beck Jr.

 

“I am especially pleased to bring art and basketball together at Duke during the museum’s inaugural year – and at the start of March Madness,” said Kimerly Rorschach, the Mary D.B.T. and James H. Semans Director of the Nasher Museum.  “Mr. Hill’s exhibition is an exciting opportunity for the museum to reach new audiences.”

 

Something All Our Own will coincide with Conjuring Bearden, a new exhibition that explores artist Romare Bearden’s career-long fascination with the “conjur” woman, also opening March 4 at the Nasher Museum. Both shows will be accompanied by a range of interdisciplinary programs, including a two-day scholarly symposium on Bearden, a film series, jazz concert and Family Day event.

 

The Nasher Museum is the final venue for the national tour of the exhibition, which originated at the Orlando Museum of Art in November 2003 and has traveled to New Orleans, Baltimore, Dallas, Houston and the Basketball Hall of Fame in Springfield, Mass.

 

Hill and his wife, five-time Grammy nominee Tamia Hill, collected works over the past nine years to build Something All Our Own. Hill says his love of art and sports was inspired by his father, former Dallas Cowboys running back Calvin Hill.

 

“I wanted to be like my father,” Hill said.  “As a child, our home was filled with paintings, sculptures and artifacts from places throughout the world, but especially what my father calls ‘Third World’ art.  It had a profound impact on me and shaped my own thinking about collecting African American art and sharing my collection.”

 

Something All Our Own was organized by Hill and Alvia J. Wardlaw, PhD., director/curator of the University Museum at Texas Southern University, and curator of modern and contemporary art at the Museum of Fine Arts, Houston.

 

The exhibition includes 21 works by Elizabeth Catlett, with examples of sculpture and lithographs – two media for which she is equally known.  Among Hill’s favorite pieces are two of Catlett’s bronze sculptures from 1978, both entitled Standing Mother and Child.

 

“This posture of the strong mother is the kind of work that speaks to everyone in a universal language,” Hill said.  “The image of mother and child in art goes all the way back to Egypt, and certainly the Madonna and child representations of the Renaissance are still important works today. Catlett’s mother and child figures contribute to this tradition.”

 

Hughie Lee-Smith, whose colorful oil paintings often depict isolated figures in the manner of American painter Edward Hopper, painted three works in the exhibition. Woman by the Seashore (1957) is a rendering of a lone woman standing on a beach overlooking a lake.

 

“I have often said that this work reminds me of my mother,” Hill said of the painting.  “I think of her standing on the shore in her mind as she made the decision to leave her home in New Orleans and attend Wellesley College.  It is the moment of truth that is represented in the work that I find so strong.”

 

John Biggers’ lithograph The Upper Room (1984) reflects the artist’s lifelong celebration of black women and their central role in maintaining continuity within the African American family and community. Malcom Brown’s watercolor portraits, Innocence (1991) and Sophisticated Lady (1994) are loosely painted yet compelling character studies of their African American subjects.

 

The exhibition also includes 13 paintings and collages by Romare Bearden.  In discussing Bearden’s collage The Street (1985), Hill said, “This work captures for me the energy that anyone can see and absorb in any urban black community, be it New Orleans, Baltimore, or Detroit.”

 

The exhibition is sponsored at the Nasher Museum by Wachovia Corporation.

 

Grant Hill

 

The 6-foot-8 Hill began his career at Duke University, winning back-to-back NCAA Championships in 1991 and 1992.  In his senior year he was named a unanimous first team All-American, NCAA All-Tournament and NCAA Southeastern Regional MVP.  Hill was the No. 1 pick by the Detroit Pistons in the 1994 NBA Draft.  He has also been named NBA Rookie of the Year and was a member of the Gold Medal winning Dream Team III representing Team USA at the 1996 Olympic Games in Atlanta, Georgia.  After six All-Star years with the Pistons, Grant signed on with the Orlando Magic in 2000.

 

The Nasher Museum of Art at Duke University

 

The Nasher Museum is a major new center for the arts that serves the university, Research Triangle area and surrounding region with an extensive schedule of exhibitions and educational programs.  The Nasher Museum is a teaching museum that is committed to an exhibition program that takes advantage of the extraordinary intellectual resources and diverse environment of its research university setting.  Founded in 1969 and formerly the Duke University Museum of Art, the museum inaugurated its new landmark building designed by Rafael Viñoly on Oct. 2, 2005.  The facility creates a laboratory for the visual arts, a multidisciplinary educational resource and a new cultural destination on Duke’s campus, while supporting the future growth of the collection.  Additional information is available at www.nasher.duke.edu.

 

Nasher Museum exhibitions and programs are generously supported by the Mary Duke Biddle Foundation, Mary D.B.T. and the late James H. Semans, The Duke Endowment, the Nancy Hanks Endowment, the North Carolina Arts Council, the Office of the President and the Office of the Provost, Duke University and the Friends of the Nasher Museum of Art.

 

The Nasher Museum of Art is located at 2001 Campus Drive at Anderson Street.  The Nasher Museum Café presents a seasonal menu featuring local, organic ingredients prepared by chef Amy Tornquist of Sage & Swift. The Nasher Museum Store features beautiful, fun and unusual gifts. The museum is open 10 a.m. to 5 p.m. on Tuesday, Wednesday, Friday and Saturday; 10 a.m. to 9 p.m. on Thursday; and noon to 5 p.m. on Sunday.  The museum is closed Mondays.  Suggested admission is $5 adults, $4 for seniors and members of the Duke Alumni Association, $3 for non-Duke students with I.D. and free for children 16 and younger.  Admission is FREE to Duke University students, faculty and staff with Duke I.D.  Admission is also FREE to Durham residents who present valid I.D. with proof of residency, courtesy of The Herald-Sun.

 

                                ###

 

FOR MORE INFORMATION, PLEASE CONTACT:

Wendy Hower Livingston

Nasher Museum of Art at Duke University

(919) 684-3314

wendy.hower@duke.edu

 

Basketball Hall of Fame to Feature Exhibition

of NBA All-Star Grant Hill’s Collection

of African American Art

 

Something All Our Own: The Grant Hill Collection of African American Art

On Exhibit May 27 –September 10, 2005

 

SPRINGFIELD, MA – (May 13, 2005) – Beginning May 27th and running  through the 2005 Enshrinement weekend of September 10th , guests of all ages who visit the Naismith Memorial Basketball Hall of Fame will have the opportunity to observe the impressive art collection of NBA basketball player, Grant Hill.  This extensive exhibit features forty-six works of African American art collected over the last eight years by Hill and his wife, four-time Grammy nominee, Tamia Hill.

 

The collection, entitled Something All Our Own: The Grant Hill Collection of African American Art, includes paintings, collages, sculptures & works on paper. This impressive exhibit includes important works by some of the best known and most beloved African American artists of the 20th century.  These artists include Romare Bearden, Elizabeth Catlett, John Biggers, John Coleman, Arthello Beck Jr., Edward Jackson, Hughie Lee-Smith, Malcom Brown, and Phoebe Beasley.

 

Grant Hill’s love of art and sports was inspired by his father, former Dallas Cowboys running back, Calvin Hill.  “I wanted to be like my father,” says Hill.  “As a child, our home was filled with paintings, sculptures and artifacts from places throughout the world, but especially what my father calls ‘Third World’ art.  It had a profound impact on me and shaped my own thinking about collecting African American art and sharing my collection,” he adds.

 

“It is such a pleasure to host Grant Hill’s impressive art collection here at the Basketball Hall of Fame,” says John L. Doleva, president and C.E.O.  “Mr. Hill’s passion for the game of basketball and his appreciation for art is a unique combination and not often shared by professional athletes.   Anyone who loves sports or art will enjoy a day here at the Hall of Fame,” adds Doleva.

 

The exhibition, which has traveled for the last year to venues throughout the United States including Orlando, New Orleans, Texas, and Baltimore, is making its debut at the Naismith

 

Memorial Basketball Hall of Fame’s Special Exhibit Gallery where guests will be able to combine the appreciation for art as well as the history of basketball.  Entry to Something All Our Own: The Grant Hill Collection of African American Art is FREE with admission to the Basketball Hall of Fame. 

 

The exhibition was organized by Hill and by Dr. Alvia J. Wardlaw, Director/Curator, University Museum at Texas Southern University, and Curator of Modern and Contemporary Art, Museum of Fine Arts, Houston.  Alongside collages, prints, sculptures, and paintings by celebrated artists such as Bearden, Catlett, and Biggers are moody, solitary paintings by Hughie Lee-Smith; naïve, Grandma Moses-like paintings by self-taught artist Coleman; and sketches and paintings by the late Beck.

 

Elizabeth Catlett, who produced 21 works in the exhibition, is equally known as a sculptor as she is a lithographer, and examples of works in both media are in the exhibition.  In reference to the bronze sculpture reflecting one of Catlett’s favorite topics, mother and child, Hill says “This posture of the strong mother is the kind of work that speaks to everyone in a universal language.  The image of mother and child in art goes all the way back to Egypt and certainly the Madonna and child representations of the Renaissance are still important works today.  Catlett’s mother and child figures contribute to this tradition.”

 

Hughie Lee-Smith, whose colorful oil paintings often depict isolated figures in the manner of American painter, Edward Hopper, painted three of the works in Something All Our Own. Woman by the Seashore (1957) is a rendering of a lone woman standing on a beach overlooking a lake.  Hill says of the painting, “I have often said that this work reminds me of my mother.  I think of her standing on the shore in her mind as she made the decision to leave her home in New Orleans and attend Wellesley College.  It is the moment of truth that is represented in the work that I find so strong.”

 

John Biggers lithograph The Upper Room (1984), reflects the artist’s lifelong celebration of black women and their central role in maintaining continuity within the African American family and community. Malcom Brown’s watercolor portraits, Innocence (1991) and Sophisticated Lady (1994) are loosely painted yet compelling character studies of their African American subjects.

 

Paintings and collages by Romare Bearden account for 13 works of art in the Something All Our Own collection.  In discussing Bearden’s collage The Street (1985), Hill said, “This work captures for me the energy that anyone can see and absorb in any urban black community, be it New Orleans, Baltimore, or Detroit.”

 

Hill, a 6’8”, six-time NBA All-Star, began his most impressive career at Duke University winning back-to-back NCAA Championships (1991 & 1992).  In his senior year, he was named a unanimous first team All-American, NCAA All-Tournament and, NCAA Southeastern

 

Regional MVP.  Grant was the #1 pick by the Detroit Pistons in the 1994 NBA Draft.  He has also been named NBA Rookie of the Year and was a member of the Gold Medal winning Dream Team III representing Team USA at the 1996 Olympic Games in Atlanta, Georgia.  After spending six highly productive All-Star years with the Pistons, Grant signed on with the Orlando Magic in 2000. 

 

Located in Springfield, Massachusetts, the birthplace of basketball, The Naismith Memorial Basketball Hall of Fame promotes and preserves the game of basketball at every level – professional, collegiate, international, men and women. For more information on these and other upcoming events, please visit our website at www.hoophall.com or call 1-877-4HOOPLA.

 _______________________________________________

Dallas Museum of Art Presents Exhibition

of Grant Hill’s Collection of African American Art

 

Something All Our Own: The Grant Hill Collection of African American Art

Dec. 19, 2004–April 17, 2005

 

 

            DALLAS, Dec. 3, 2004 – For the last eight years, star NBA basketball player Grant Hill has collected paintings, collages, sculptures, and works on paper by many of the major African American artists of the 20th century.  Forty-six works from his collection will be on view in the exhibition Something All Our Own: The Grant Hill Collection of African American Art from Dec. 19, 2004, through April 17, 2005, in the Dallas Museum of Art’s Tower Gallery.

             

Click here for full article http://www.granthill.com/ghc/press.php

_______________________________________

Grant Hill brings his collection to the DMA

08:59 PM CST on Wednesday, December 29, 2004

By CHARLES DEE MITCHELL / Special Contributor to The Dallas Morning News

Most people know Grant Hill from the world of basketball. He distinguished himself at Duke University and has played several seasons with the Orlando Magic in the NBA. He is also a Dallas native and son of former Dallas Cowboy Calvin Hill, from whom he could've caught the art-collecting bug.

Please click here to view the rest of the story >>

Dallas Museum of Art Presents Exhibition of Grant Hill’s Collection of African American Art

Something All Our Own: The Grant Hill Collection of African American Art

Dec. 19, 2004–April 17, 2005

DALLAS, Dec. 3, 2004 – For the last eight years, star NBA basketball player Grant Hill has collected paintings, collages, sculptures, and works on paper by many of the major African American artists of the 20th century. Forty-six works from his collection will be on view in the exhibition Something All Our Own: The Grant Hill Collection of African American Art from Dec. 19, 2004, through April 17, 2005, in the Dallas Museum of Art’s Tower Gallery.

“As the son of legendary Dallas Cowboys running back Calvin Hill, Grant grew up in a household that blended an emphasis on sports with a love of art,” said Walker, who is the organizing curator of the exhibition for the Dallas Museum of Art.

This impressive collection includes important works by Romare Bearden, Elizabeth Catlett, John Biggers, John Coleman, Arthello Beck, Jr., Edward Jackson, Hughie Lee-Smith Malcolm Brown, and Phoebe Beasley.The exhibition, which has toured museums throughout the United States, is intended to increase awareness and appreciation of the African American experience in the visual arts and to encourage investment in culture, according to Roslyn Adele Walker, Senior Curator of the Arts of Africa, the Pacific, and the Americas, and The Margaret McDermott Curator of African Art of the Dallas Museum of Art. “While his parents have an eclectic art collection, Grant’s collection is composed entirely of works by African American artists. Through exhibitions of his collection in art museums, he hopes to increase awareness of African American artists who are less well known than African American athletes and entertainers.

“He really wants to share his collection and his enthusiasm for art with young people,” Walker said. “In addition to sharing his collection with the public, he has provided scholarships to enable young people to study art.”

The exhibition was organized by Hill and by Dr. Alvia J. Wardlaw, Director/Curator, University Museum at Texas Southern University, and Curator of Modern and Contemporary Art, Museum of Fine Arts, Houston.

Exhibition support provided by Sue and Jim Gragg, Hollis Greenlaw, Steve Hartnett and the Hartnett Group, Ltd., Oak Farms Dairy, and The Staubach Company. Promotional support provided by The Dallas Morning News, and Dallas Weekly.

The collection of art assembled by Hill and his wife, Tamia, a four-time Grammy nominee, includes works by some of the best known and most beloved African American artists of the 20th century, along with some artists who are lesser known but who also express the struggles and hopes of humankind. Alongside collages, prints, sculptures, and paintings by celebrated artists such as Bearden, Catlett, and Biggers are moody, solitary paintings by Hughie Lee-Smith; naïve, Grandma Moses–like paintings by self-taught artist Coleman; and sketches and paintings by late Dallas native Beck.

Paintings and collages by Romare Bearden, the subject of a recent retrospective exhibition at the Dallas Museum of Art, account for 13 of the works in Something All Our Own. In discussing Bearden’s collage Time for the Bass (1979), Hill said, “I know that Bearden was a jazz lover and a friend to many musicians in Harlem. This work reminds me of the love of jazz music that Bearden had all of his life.”

About Seed Time (1969), another collage by Bearden in his collection, Hill said, “The role of the farmer here is paramount. Bearden seems interested in recalling those times when black families were completely reliant upon their own life skills––the most basic ones––to survive. Farms like these were the mainstay of life in the South, with many black men and women working tirelessly as sharecroppers and getting very little in return for their endless work. How many of us in today’s society could successfully run a farm?”

Elizabeth Catlett, who produced 21 works in the exhibition, created a series of lithographs illustrating Margaret Walker’s seminal poem, For My People, in 1992. Catlett is equally well known as a sculptor as she is a lithographer, and examples of works in both media are in the exhibition. Catlett has spent much of her adult life in Mexico, where she produces many of her works. With regard to Catlett’s lithograph Cartas (1986), Hill said, “I love the way that Elizabeth Catlett captured everything in the face of the woman: the animation, the reflection, the thoughtfulness. It is a very compelling portrait.” 

The exhibition also contains many bronze sculptures reflecting one of Catlett’s favorite topics, mother and child.

Hughie Lee-Smith, whose colorful oil paintings often depict isolated figures in the manner of Edward Hopper, painted three of the works in Something All Our Own. The Letter (1989) depicts a solitary woman emerging from a building—probably a post office. Another painting by Lee-Smith, Woman by the Seashore (1957), is a Hopperesque rendering of a lone woman standing on a beach overlooking a lake.

Although born in North Carolina, John Biggers was widely known in Texas, where he worked and taught for many years. His painting The Upper Room (1984) conveys a favorite theme of the artist, strong women as matriarchs not only for a family but also for a culture. According to Hill, “The determination of the female, the culture of the South, and the connection with the surrounding nature are all in this work. You can almost feel the movement of the women as they move forward, carrying the household and culture with them.”

Innocence (1991) and Sophisticated Lady (1994), watercolor portraits by Malcolm Brown, are loosely painted yet compelling character studies of their African American subjects. They contrast with the unusual smiling portrait of Malcolm X painted in acrylic by Jackson.

John Coleman’s seemingly primitive scenes in Church Service (1986) and Eight Ball (1992), a pool hall scene, are filled with color and populated by small figures going about their activities in a style reminiscent of Grandma Moses.

Dallas native Arthello Beck, Jr. opened the first African American–owned art studio and gallery in Dallas in 1973. A prolific artist for more than 30 years until his recent death, Beck’s early art conveys socially conscious images, some of which deal with the civil rights movement and historical/religious experiences of the African American community.

An example is Beck’s Confrontation (1969), an oil painting that Hill reveres. “I grew up with this painting, and just as my father is attached to it because it reflects the historic struggle of the black male, so am I,” the collector says.

California artist Phoebe Beasley enjoys success in two fields––in business and the arts. She is an advertising account executive for a Los Angeles radio station as well as a visual artist. Her often monumental collage canvases are in the collections of celebrities such as poet Maya Angelou, basketball star and coach Bill Russell, and talk show host Oprah Winfrey, as well as Hill. Combining tissue paper and oil paint, Beasley uses strong colors to provide a graphic component to her compositions, while her subjects often reflect an aspect of the black experience. Hill commented on Test Pattern (1994), a work in his collection: “I like the way Ms. Beasley uses very simple colors and a great deal of black and white to construct this work. I think it has a very contemporary feel to it.”

An exhibition catalogue with 46 reproductions and essays by noted authors and poets and by curator Dr. Wardlaw is available at a cost of $49.95 for hardcover and $24.95 for paperback.

A continuously running 20-minute video adjacent to the installation contains interviews with Hill, his wife, and his parents.

The exhibition has traveled for the last year to venues throughout the United States. They include the Orlando Museum of Art; the New Orleans Museum of Art; Texas Southern University Museum, Houston; James E. Lewis Museum of Art at Morgan State University Art Gallery, Baltimore; and the Dallas Museum of Art. In the future, the exhibition will travel to the Basketball Hall of Fame, Springfield, Mass. and the Nasher Museum at Duke University, Durham, N.C.

The Dallas Museum of Art, established in 1903, has an encyclopedic collection of more than 23,000 works, spanning 5,000 years of history and representing all media, with renowned strengths in the arts of the ancient Americas, Africa, Indonesia, and South Asia; European and American painting, sculpture, and decorative arts; and American and international contemporary art.

The Dallas Museum of Art is the anchor of the Dallas Arts District and, in all its vitality, serves as a cultural magnet for the city with diverse programming ranging from exhibitions and lectures to concerts, literary readings, dramatic and dance presentations, and a full spectrum of programs designed to engage people of all ages with the power and excitement of art.

The Dallas Museum of Art is supported in part by the generosity of Museum members and donors and by the citizens of Dallas through the City of Dallas/Office of Cultural Affairs and the Texas Commission on the Arts.

The Museum is located just south of Woodall Rodgers Freeway with driveways on both Harwood and St. Paul providing access to the underground parking garage.

The Museum is open Tuesday through Sunday at 11 a.m. Closing hour is 5 p.m. each day except Thursday, when the Museum stays open until 9 p.m. The Museum is closed Mondays, New Year’s Day, Thanksgiving, and Christmas Day.

Admission to Something All Our Own, which includes general admission to the Museum, is $10 for adults, $7 for senior citizens, and $5 for students with current school identification. Museum members and children under 12 are free.

Admission is free to all on Thursdays from 5 p.m. to 9 p.m. and the first Tuesday of the month. For more information, visit DallasMuseumofArt.org or call 214/922-1200.

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JAMES E. LEWIS MUSEUM PRESENTS “SOMETHING ALL OUR OWN”

Grant Hill Collection of African American Art Opens September 17th

Morgan State University’s James E. Lewis Museum of Art (JELMA) is bringing to Baltimore the exhibition of 46 works of art from the personal collection of NBA star Grant Hill. Something All Our Own: The Grant Hill Collection of African American Art will run from September 17 through November 30, 2004.

The collection features the works of such celebrated African American artists as Romare Bearden and Elizabeth Catlett. But it also includes the art of Hughie Lee-Smith, John Biggers, John Coleman, Phoebe Beasely, Edward Jackson and Malcolm Brown, among others.

“We are pleased to be able to feature the work of these very talented African American artists,” says Gabriel Tenabe, director of the James E. Lewis Museum of Art. “Grant Hill has amassed a fine art collection for such a young man, especially one who is better known for his work as a professional basketball player than an art collector.”

Hill, who was exposed to fine art by his parents, Calvin and Janet Hill, at a very early age, believes young people should see African American role models who are successful, but outside of the traditional sports and entertainment venues. He says he allowed his personal art collection to travel the country because he wanted to expose more people to African American art, which, he says, has not been fully appreciated.

The collection is currently on a national tour, which began in the Fall of 2003 at the Orlando Museum of Art in Orlando, Florida, making stops in New Orleans (New Orleans Museum of Art), Houston (Texas Southern University Museum) and Morgan State University in Baltimore, before moving on to Dallas (Dallas Museum of Art), Springfield, Massachusetts (Basketball Hall of Fame) and, finally, Durham, North Carolina (Duke University’s Nasher Museum of Art) in the Spring of 2006.

While at Morgan, Grant Hill hopes to make his collection of African American art available to as many school children as possible and expects to spend some of his time with wife, Tamia, speaking to Morgan students.

The James E. Lewis Museum of Art is located on the campus of Morgan State University in the Carl J. Murphy Fine Arts Center at 2201 Argonne Drive. The museum is open six days a week, Tuesday through Sunday. There is no charge for admission. Call 443-885-3030 for museum hours.

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MEDIA OUTLET

Air/Published Date

• The Charlotte Observer, Mary C. Curtis

 July 13, 2006

http://hosted.ap.org/specials/interactives/_sports/nba06/grant_hill/hillslideshow/index.html?SITE=AP

 April 9, 2006

• Associated Press, Martha Waggoner

 March 22, 2006

• Associated Press, Martha Waggoner

 March 21, 2006

http://www.blacksportsnetwork.com/articles/beyondTheGame_052304.asp

 May 23, 2004

Dallas Morning News

February 21, 2004

•  Magic Show (Orlando Magic TV)

October 31, 2003

 http://www.npr.org/programs/totn/

January 29, 2004

 http://www.duke.edu/web/alumni/clubs/granthillcollections.htm

 January 2004

•  WKMG-TV (Orlando)

October 31, 2003

•  Mix 105.1 (Orlando) Morning Show

October 31, 2003

•  Orlando Sentinel/Jean Pattison

November 4, 2003

•  Channel 2 (Orlando)

October 31, 2003

•  Orlando Sentinel/Darryl Owens

December 13, 2003

•  Florida Today

November 3, 2003

•  Orlando Leisure Magazine

Fall/Winter 2003

•  Orlando Arts Magazine

Fall/Winter 2003

•  The Orlando Times

Fall/Winter 2003

•  The Valencia Source

Fall/Winter 2003

•  King Magazine

Jan./Feb. 2004 issue

•  GQ

December issue

•  Pardon The Interruption (ESPN)

October 17, 2003

•  Best Damn Sports Show Period (Fox Sports)

November 5, 2003

•  Beyond the Glory (Fox Sports)

TBD

•  Chicago Tribune/Sam Smith

December 16, 2003

•  New York Times/Chris Broussard

December 7, 2003

•  Tom Joyner Radio Show (nationally syndicated)

November 19, 2003

•  Russ Parr Morning Show (nationally syndicated)

December 11, 2003

•  Mitch Albom Radio (nationally syndicated)

December 18, 2003

•  Jim Rome Radio Show (nationally syndicated)

December 19, 2003

•  Tavis Smiley Radio Show/NPR

http://www.npr.org/display_pages/features/feature_1418409.html

September 2, 2003

•  Washington Post/Blake Gopnik Bearden Critique

September 16, 2003

•  Art Business News/Megan Kamerick

TBD

•  Raleigh News & Observer/Arts Reporter

TBD

•  OrlandoCityBeat.com/Art Review: ‘Something All Our Own' by Sandra Carr

Posted, December 12, 2003

•  OrlandoCityBeat.com/Arts Q&A

•  “Grant Hill's art exhibit spreads magic”

http://www.orlandosentinel.com/citybeat/arts/ocb-arts-granthillinterview,0,7925882.story?coll=ocb-arts-headlines

Posted, December 19, 2003

•  ESPN.com (David Aldridge)

October 7, 2003

The News and Observer, Raleigh, NC

  • http://newsobserver.com/features/arts/story/3145204p-2843624c.html

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    December 21, 2003

  • St. Petersburg Times, Florida

    <A href="http://www.sptimes.com/2003/12/14/Sports/Braze

    </L
    •