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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