Something all his own: the NBA's Grant Hill hopes his collection of African American art will inspire, excite a younger generation

Black Issues in Higher Education, Dec 2, 2004 by Crystal L. Keels

Today, with many troubling representations of Black life perpetuated through sports, music and other venues through which individual African Americans have enjoyed economic success, the fears Du Bois expressed about materialism may have materialized.

In that regard, "Something All Our Own," a line taken from a literary work by Margaret Walker, makes a different statement. Hill's collection is on tour at the same time the National Gallery of Art's "The Art of Romare Bearden"--on display at the Whitney Museum of American Art in New York until early January--is also traveling the country.

"This moment hasn't come before," Alexander says about the concurrent exhibitions that showcase African American art and artists.

She says she is pleased at this particular point in history with Hill's interest in collecting and his willingness to share his enthusiasm with others. "It's not about bling," Alexander says about Hill's endeavor, "it's about culture. I hope the exhibition will provide an example for other young people to do what they can to caretake our culture."

NEW POWER GENERATION

African American art collection and the caretaking of culture seems to have clear generational demarcations, however, according to Chicago collector Patric McCoy.

"People (now) go after entertainers who have ready cash and can get them into the market for established artists, not impulse buying," explains McCoy, who is president of Diasporal Rhythms, an organization of African American art collectors. "This new generation has come into a lot of money. They rely on art dealers and galleries to tell them what pieces you need to have--a Bearden, a Catlett."

Walter Shannon, who with his wife, Cathy, established E&S Gallery in Louisville, Ky., concurs. Noting generational differences, Shannon explains, for example, that African American painter Jacob Lawrence never entered an art gallery until he was 19 years old. That is not necessarily the case with the new generation of art collectors.

"New collectors are young and have a greater awareness, more exposure to African American art, and many (collect) by the book," Shannon says.

The canonization of artists and their work in this way has a significant down side, some long-time collectors argue.

"Master collectors collected the work, not just a commodity," says McCoy, who has been acquiring African American art since the late 1960s. "I feel I have to know the artists I collect. Collecting always involves your feelings about a piece, then your relationship with an artist and longevity--because current art is not always going to speak to you two generations from now."

Yet McCoy insists upon the significance of current art and artists, not just the work of well-known and revered African American artists, to advance culture. He explains that collectable work depends on the mix of an artist's creativity, subject matter and something special.

"Your eye can see it. Your spirit feels it," Mc Coy says. "If we are going to promote the culture, we are going to have to promote it as it is created. I want people to be inspired, continue to challenge, take techniques and turn them. We've got a lot of discussions that need to happen."