Thesis (M.A.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 125-127).

Thesis (Ph. D.)--Syracuse University, 1982. / Includes bibliographical references (leaves 566-586).

Thesis (Ed. D.)--Illinois State University, 1978. / Title from title page screen, viewed Jnauary 14, 2005. Dissertation Committee: Max Rennels (chair), Charles Sherman, Jack Hobbs, William Colvin, Fred Mills. Includes bibliographical references (leaves 92-94) and abstract. Also available in print.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (Ed. D.)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).

The New Negro Movement, also referred to as the New Negro Renaissance or Harlem Renaissance, was a blossoming of literature, music, and visual art that took place in northern urban African American communities circa 1925 through the mid-1930s. To date, scholars examining this historical period have largely focused on the Harlem area in New York, hence the popular catchphrase used to describe the times, "the Harlem Renaissance." Certainly, Harlem artists were prolific and the work they produced was significant in the ways in which it conveyed to the public the message of racial uplift and pride in African heritage embedded within the New Negro Movement. Nevertheless, African Americans residing in other major cities, such as Chicago, also were demonstrating significant developments in all aspects of the arts. In my dissertation, "Chicago and the Visual Art of the New Negro Movement, 1920s-1940," I undertake an in-depth examination of the African American visual arts scene in Chicago during this period, and analyze the manner in which the work of Chicago artists fit into the national discourse of the New Negro Movement. The many and varied accomplishments of these artists, coupled with their roles as agents for social change, make them attractive and significant research interests, well deserving of a place in the art history canon. My dissertation will help fill an important gap in the history of American art and of the African American ‘New Negro’ period.

Thesis (Ph.D.)--Pennsylvania State University, 2008. / Includes bibliographical references (leaves [202]-219)

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. John Corrigan, Florida State University, College of Arts and Sciences, Dept. of Religion. Title and description from dissertation home page (viewed 5/4/04). Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Department of Art History, June 2001. / Includes bibliographical references (leaves 333-361). Also available on the Internet.

This dissertation considers the early career of Boston-based, African American artist Allan Rohan Crite (1910-2007) and situates his central artistic Goal--to present uplifting images of middle class black Bostonians--within the ideological framework of the New Negro Movement of the 1920s-1940s. In each of the chapters, I consider one of the four bodies of work Crite produced simultaneously during his early career--painted portraits, neighborhood street scenes and church interiors and brush and ink illustrations of African American spirituals. I focus on these subjects in order to explore Crite’s desire to portray the middle class status of his family and community and to redefine the spirituals in terms of his own middle-class sensibility. I describe Crite’s visualization of his black middle class Episcopal and Bostonian identity in these works as performances or enactments created through a series of repeated gestures of “respectable” appearance and behavior. My analysis also considers the artist’s motivations to preserve, in the physical form of his artworks, the black middle class values and way of life in Boston that he feared was in danger of being lost and forgotten. Rooted in the Community is also a revisionist account, for it seeks to revise the notion of an African American artistic “rootedness” to mean an artist rooted in his own immediate community rather than in a search for his cultural roots in the African past or within the rural folk culture of the American south. This study challenges a bias within the discourse on racial identity in art that privileges a notion of racial authenticity, or an essentialized conception of black identity centered upon the “folk,” or working and lower class African Americans. I also challenge the negative assessment of the black middle class as a group devoid of interest in the black community and propose that early twentieth century definitions of black middle class identity embodied in the notions of the “talented tenth” and the “race” man or woman best define Crite’s sense of himself as a black artist, for he felt a responsibility towards the black community and was not alienated from it. / text