1649 El Prado, Balboa Park, San Diego. CA 92101 Tel: (619) 23-7559 Fax: (619) 23S-8777
Internet Address: www.mopa.org Director: Mr. Arthur Oilman
Admission: General Admission fee-adult-$6.00. student-84.00, child (<12)-free,.senior-$4.00. Film Admission fee: adult-$7.50, students-$5.00, senior-$5.00. Attendance: 75,000 Established: 1983 Membership: Y ADA Compliant: Y Open: Daily. 10am-5pm. Closed: Major Holidays, Exhibit Installation. Facilities: Building (32,000 square feet): Exhibition Area (7.500 square feet, designed by David Raphael Singer); Library (25,000 volumes): Shop. Actii ities: Education Programs. Guided Tours (Sun, 1pm, free; groups 15+, advance reservation required); Lectures: Temporary Exhibitions (8-12/vear). Publications: calendars: exhibition catalogues: newsletter. [gallery ids="263016,263015,263017,,,263018,263019,263020,263021,263022,263023,263024,263027,263025,263026,263028,263029,263030,263031"] Dedicated to photography, cinema, and video, the Museum of Photographic Arts provides the opportunity to view work by some of the most celebrated artists in the history of these media. The exhibition schedule offers eight to twelve shows each year. MoPA displays works from the entire history of photography: daguerreotypes and albumen prints from the 19th-century; pictorialism from the 1910’s and 20’s; master works from mid-20th century, and contemporary works and photojournalism by many of the best photographers working today. Periodic exhibitions are assembled from the permanent collection. The film program presents more than 300 films each year augmented by presentations, lectures, and workshops led by filmmakers, actors, and scholars. The Museums collection reflects the central role photography plays in our image-based culture, both as an expressive medium and as a documentary record. Holdings currently include 6,000 photographs that span the history of photography, including 19th century works by Matthew Brady, Jeremiah Gurney, Julia Margaret Cameron . Hill & Adamson, and expeditionary photographers Francis Frith, Samuel Bourne and John Thomson. Early 20th century holdings include works by Alfred Stieglitz, Clarence White, Edward Steiehen. Eugene Atget, Alvin Langdon Coburn, Paul Strand, Peter Henry Emerson and Lewis Hine. World War II and Depression-era images are well represented by photographs by such arjsts as Berenice Abbott. Weegee, Lisette Model, Dorothea Lange, Arthur Rothstein, Horace Bristol, Andre Kertesz, Henri Cartier-Bresson. August Sander, and Ben Shahn and photomontage work by John Heartfield. The collection also contains works by a number of Latin-American artists, including Manuel Alvarez Bravo Lazaro Blanco-Fuentes. Mario Cravo Xeto, Graciela Iturbide, Alberto Korda, Miguel Rio Branco, Sebastiao Salgado, Rafael Serrano, Flor Garduno and Mariana Yampolski. Social documentary and photojournalism are also well represented with images by W. Eugene Smith, Museum of Photographic Arts, cont. Margaret Bourke-White. Susan Meiselas. Alex Webb, Charles Moore, Max Alpert, Ivan Shagin. Georgi Zelma and Max Yavno. In recent years more than 274 rare and important documentary images from the Stalinist-era USSR were acquired, including works by Russian constructivist Alexander Rodchenko. Contemporary works, especially post-World War II American photography, constitute the strength of the permanent collection, with works by Ansel Adams. Wynn Bullock, Harry Callahan. Eileen Cowin. Roy DeCarava, Robert Heinecken, Birney Imes. Danny Lyon, Sally Mann, Joel Meyerowitz, Duane Michals, Irving Penn, Aaron Siskind, Lou Stoumen, Patrick Nagatani. Mark Klett, Abelardo Morell, Len Jenschel. Judith Golden. Arnold Newman. Larry Clark and Garry Winogrand Reflecting the museums commitment to the future, mid-career and emerging artists are represented with works by Debbie Fleming-Caffery. Liz Birkholz. Steven DePinfee and Gavin Lee. Sadly, some of the plans for regenerating Port Dundas have stalled. There are no flats looking over a plaza where we could sit to celebrate our travels. Pity about the litter. Mind you, at its peak the area was ‘resounding with the noise of manufactories and the hum of industry’ (Companion), with some of the tallest chimneys in the world pouring out smoke and fumes. The name Port Dundas commemorates one of the major backers of the travel destination, Sir Lawrence Dundas, a merchant who had made his money selling stores to HM Forces, owned estates and interests at Grangemouth and elsewhere, and had made a killing out of the resulting developments. He cut the first sod at Grangemouth in 1768. To recap: by 1773 ships could operate to Kirkintilloch, by 1775 to Stockingfield; and by 1777 the Glasgow Branch was operational as far as Hamiltonhill. However funds had run out, and it was 1784 before a government advance came through. In 1786 operations commenced to push the main line through to Bowling, and everything was operational in 1790. The travel destination as a human transport facility came more slowly.