And they are portrayed primarily in a highly sexualized manner, whether as burlesque dancers or passengers on the subway, prompting questions about their moral character. In fact, these panels are the only ones to feature women in prominent positions. They differ from Benton's other New School murals in that many of the workers are women-burlesque dancers, acrobats, and movie actors. In one of these, City Activities with Dance Hall (1930), the artist shows himself in the lower right-hand corner conversing with the director of the e these scenes as depictions of people at play, they are also, like Bourke-White's photograph in Life, scenes of people at work. For example, Thomas Hart Benton (1889-1975) devoted two of his murals to recreational life, with its combination of sex, sports, and religion. Many artists in the 1930s turned to sites of leisure for subject matter. As such, they recognize the new demands on corporate America created by the economic crisis of the 1930s, when the appeal of an alternative economic order-socialism- forced corporations and governments alike not just to celebrate technological innovation and progress, but also to grapple with the broader human dimensions of the Great Depression. Bourke-White photographs it from close up and below, isolating these dramatic forms and conveying a sense of the federal government's power, while reducing the human presence to two tiny figures in the foreground. It was the largest earthen dam at the time of its construction, and the architects adopted the bold forms of a medieval fortress for its facade. Like the dams of the Tennessee Valley Authority, Fort Peck was a Bureau of Reclamation project. Bourke-White was commissioned to produce the image that would appear on the cover of Life's first issue: Fort Peck Dam, Montana (November 23, 1936). She is better known for her photographs of pristine machines and architectural forms.
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