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Water Plastic Bag
Anthony Ramos
1973, 8:45 min, b&w, sound
More Info
Description
Ordering & Fees
Images
Documents
Titles by Anthony Ramos
+
About Media
Balloon Nose Blow-Up
Black & White (channel 1)
Black & White (channel 2)
Decent Men
Identity
Mao Meets Muddy
Nor Was This All By Any Means
Plastic Bag Tie-Up
State of the Union
Water Plastic Bag
Watermelon Heaven
Description
Ordering & Fees
Images
Documents
Titles by Anthony Ramos
+
About Media
Balloon Nose Blow-Up
Black & White (channel 1)
Black & White (channel 2)
Decent Men
Identity
Mao Meets Muddy
Nor Was This All By Any Means
Plastic Bag Tie-Up
State of the Union
Water Plastic Bag
Watermelon Heaven
Water Plastic Bag
Anthony Ramos
1973, 8:45 min, b&w, sound
Images
Anthony Ramos: Screening & Artist Talk
Event Documentation: Image
Images from Anthony Ramos: Screening & Artist Talk at EAI, April 22, 2015
![/user_files/supporting_documents/ramos_3692_s.jpg](/user_files/supporting_documents/ramos_3692_s.jpg "{
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\"short_desc\": \"<em>Water Plastic Bag<\/em> is one of a series of durational, risk-taking performances that Ramos made with fellow artists Lowell Darling and Joe Ray. An idyllic shot of beach and surf is the setting for this unnerving performance. Ramos and Darling are tied into body-sized plastic bags and then buried in the sand by shovel-wielding children. As passers-by stroll along the beach and curious dogs investigate, the two men struggle free of the sand and then roll and tumble, still sheathed in their plastic bags, into the crashing surf. Eventually they emerge from the waves and the bags and exit the scene.\",
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\"short_bio\": \"Anthony Ramos was among the earliest artists to use video as a tool for mass media critiques and cultural documentation, and to examine media presentations of \\"truth.\\" In his powerful video works of the 1970s, Ramos combined art and activism, giving visibility to the experiences of marginalized groups, including Black Americans and those incarcerated for protesting the Vietnam War. In his earliest black-and-white video pieces, Ramos engaged in forceful, direct performances for the camera, often using physical endurance and actions to confront political issues.\r\n\",
\"long_bio\": \"Anthony Ramos was among the earliest artists to use video as a tool for mass media critiques and cultural documentation, and to examine media presentations of \\"truth.\\" In his powerful video works of the 1970s, Ramos combined art and activism, giving visibility to the experiences of marginalized groups, including Black Americans and those incarcerated for protesting the Vietnam War. In his earliest black-and-white video pieces, Ramos engaged in forceful, direct performances for the camera, often using physical endurance and actions to confront political issues.\r\n\r\nRamos produced a number of video works that critique the media through deconstruction and appropriation, and explore the relation of mass culture and the politics of race in the United States. Ramos's 1977 video,\u00a0<i>About Media,<\/i>\u00a0is an incisive deconstruction of television news. It documents an interview Ramos gave to news reporter Gabe Pressman on the subject of Ramos's eighteen-month prison term for draft resistance during the Vietnam War. Ramos appropriates the interview, contrasting the unedited interview footage with the final televised news report and exposing the artifice of television news. He also interjects footage of his extraordinary and unnerving early performances, including\u00a0<i>Balloon Nose Blow-Up<\/i> (1972), which speak to the influence of Allan Kaprow, with whom Ramos had studied and worked in California.\r\n\r\nRamos has traveled widely in Europe, Africa, China and the Middle East. He videotaped the end of Portugal's colonial rule of Cape Verde and Guinea-Bissau, Tehran during the 1980 hostage crisis, and Beijing just prior to the Tiananmen Square massacre. In the late 1980s he turned to painting as his primary medium.\r\n\r\nRamos was born in 1944 in Providence, Rhode Island. He received an M.F.A. from the California Institute of the Arts. Among his awards are a National Endowment for the Arts Visual Arts Fellowship and a Rockefeller Foundation Fellowship. In the 1970s, Ramos was a video consultant for the United Nations and the National Council of Churches. In the 1980s, he lived in Paris, where he was a Professor at the American Center, and oversaw the television cabling of ten blocks of Paris for the first time. He has also taught at Rhode Island School of Design, New York University, and the University of California at San Diego.\r\n\r\nHis work has been featured in numerous exhibitions worldwide, including <i>Paris Noir: Artistic circulations and anti-colonial struggles (1950-2000),<\/i> Centre Pompidou, Paris (2025); <i>The Embodied Vision: Performance for the Camera,<\/i> Museu Nacional de Arte Contempor\u00e2nea do Chiado, Lisbon (2014); <i>Circa 1971: Early Video & Film from the EAI Archive,<\/i> Dia: Beacon, New York (2011\u201312); the Whitney Biennial (1975 and 1979); <i>Art Vid\u00e9o-Confrontation,<\/i> Mus\u00e9e d'art moderne de la Ville de Paris (1974); <i>Art now 74,<\/i> Kennedy Center, Washington, D.C. (1974); and <i>Circuit: A Video Invitational,<\/i> Everson Museum of Art, Syracuse, New York (1973). His videos have been screened at L'Alliance New York, Electronic Arts Intermix, Film Society of Lincoln Center, Centre Pompidou, and Light Industry.\r\n\r\nRamos lives in Eyguieres, France.\",
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\"notes\": \"For items formerly in EAI collection, see Withdrawn Items database in EAI 1.\r\n\r\nBirthday = April 15.\",
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\"long_desc\": \"Press Release for <em>Anthony Ramos: Screening and Artist Talk<\/em> at EAI, Wednesday, April 22, 2015\",
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\"html\": \"<html>\r\n<head>\r\n<title>Anthony Ramos @ EAI<\/title>\r\n<meta http-equiv=\\"Content-Type\\" content=\\"text\/html; charset=iso-8859-1\\" \/>\r\n<style type=\\"text\/css\\">\r\nt.left {}\r\nh.red {font-family:Helvetica, Arial, Verdana, sans-serif; font-weight:bold; color:#990000}\r\np.two {line-height:200%;}\r\np.onefive {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:200%; color:#000000}\r\np.normalbold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:11px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.twelvebold {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:12px; line-height:150%; color:#000000; margin-top:0; border:0}\r\np.normal {font-family:Verdana, Arial, Helvetica, sans-serif; font-size:10px; line-height:150%; color:#000000}\r\na:link {color:#000000; text-decoration:none;} \/* unvisited link *\/\r\na:visited {color:#000000; text-decoration:none;} \/* visited link *\/\r\na:hover {color:#000000; text-decoration:none;} \/* mouse over link *\/\r\na:active {color:#000000; text-decoration:none;} \/* selected link *\/\r\n<\/style>\r\n<\/head>\r\n<body>\r\n\r\n<table width=\\"600\\" border=\\"0\\" cellspacing=\\"0\\" cellpadding=\\"0\\" align=\\"left\\">\r\n\r\n<tr>\r\n\r\n<td colspan=\\"3\\" valign=\\"left\\">\r\n\r\n<p class=\\"twelvebold\\">\r\n\r\n<\/td><\/tr>\r\n\r\n\r\n<tr>\r\n<td width=\\"301\\" valign=\\"top\\">\r\n<img src= \\"http:\/\/www.eai.org\/user_files\/supporting_documents\/ramos_decent_2_xl.jpg\\" width=\\"300\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\" \/>\r\n<br \/>\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"1\\"><em>Decent Men<\/em> (1977-2013), Anthony Ramos<\/font>\r\n<\/td>\r\n\r\n<td width=\\"23\\" valign=\\"top\\"> <\/td>\r\n<td width=\\"221\\" valign=\\"top\\">\r\n<font face=\\"Verdana, Arial, Helvetica, sans-serif\\" size=\\"2\\">\r\n<strong>Wednesday, April 22<br \/>\r\n6:30 pm<br \/>\r\n<br \/>\r\nElectronic Arts Intermix (EAI)<br \/>\r\n535 West 22nd Street, 5th Fl.<br \/>\r\nNew York, NY 10011<\/strong><br \/>\r\n<strong><a href=\\"http:\/\/www.eai.org\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><br \/>\r\n<br \/>\r\n<strong>Admission $7\/ Students $5<br \/> Free for <a href=\\"https:\/\/www.eai.org\/cartMembership.htm\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI Members<\/font><\/a><br \/> RSVP: rsvp@eai.org\r\n<\/strong><br \/>\r\n<br \/>\r\n<\/font>\r\n\r\n<\/td>\r\n<\/tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n <br \/>\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\n<strong>Electronic Arts Intermix (EAI<\/strong>) is pleased to present a special evening with pioneering performance and media artist <strong><a href=\\"http:\/\/www.eai.org\/artistTitles.htm?id=311\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">Anthony Ramos<\/font><\/a><\/strong>, who will screen his rarely seen, recently preserved video works from the early 1970s. Ramos' powerful video works join art with activism, the political with the conceptual, humor with cultural critique. <br \/>\r\n<br \/>\r\nIn a rare New York appearance, Ramos will screen selections from his earliest performance actions, as well as the extraordinary video collage <em>Nor Was This All By Any Means<\/em> (1978), which merges first-person narrative, performance, and mass media imagery to address issues of race and identity. The evening will also include the New York premiere of <em>Black & White<\/em> (1975), an early two-channel video piece, and a preview of the never-before-seen <em>Decent Men<\/em> (1973-2013), Ramos' extended monologue on his eighteen-month prison term for resisting the draft during the Vietnam War. <br \/>\r\n<br \/>\r\nEAI is undertaking a major initiative to preserve Ramos' groundbreaking yet under-recognized early video works. The evening will include a conversation with the artist and a Q & A with the audience. <br \/>\r\n<br \/>\r\n\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\n \r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n\r\nAnthony Ramos was among the earliest video artists to use the emergent video medium as a tool for mass media critiques and cultural documentation, and for inquiries into the politics of race in America. A graduate assistant of Allan Kaprow who performed in Kaprow's Happenings in the late 1960s, Ramos first began using video as a student at the California Institute of the Arts in the early '70s. In his earliest black-and-white video pieces, including the 1972 <em>Balloon Nose Blow-Up, Plastic Bag Tie-Up<\/em> and <em>Water Plastic Bag<\/em>, Ramos engages in direct performances for the camera that foreground physical endurance and politically-charged, often harrowing actions. (During this time he also participated in undocumented Happenings with artists Lowell Darling and Joe Ray.) Ramos' early two-channel video piece <em>Black & White<\/em> (1975, 11 min, with Ann Ramos), which investigates cultural and racial identities, will have its first New York screening at EAI. <br \/>\r\n<br \/>\r\nRamos' groundbreaking works of the late 1970s merge personal narrative, performance, and mass media critique. Ramos' most well known video, <em>About Media<\/em> (1977), is a pointed deconstruction of television news. Appropriating and upending a television interview about President Carter's amnesty for Vietnam War draft resisters, he exposes the artifice of mass media news reporting. <em>Nor Was This All By Any Means<\/em> (1978, 24 min) is a rarely seen video collage\/essay in which Ramos challenges mass cultural representations of African-American and African identities. (Please <strong><a href=\\"http:\/\/www.eai.org\/index.htm\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">click here<\/font><\/a><\/strong> to view an excerpt from this piece.)<br \/>\r\n<br \/>\r\nIn 2013, Ramos—who produced and edited several of his early video pieces at EAI—returned to EAI to revisit an unfinished work that he had begun in the 1970s. Built around an extraordinary extended monologue on his experiences in federal prison, the piece is a potent collage of performance—Ramos is a brilliant raconteur—and mass media images. Forty years after beginning the piece, Ramos recorded and edited a new performance element at EAI, integrating it into the now-completed <em>Decent Men<\/em> (1977-2013). <br \/> \r\n<br \/>\r\nRamos' remarkable video works—and his parallel remarkable biography—map an artistic and cultural topography that spans North America, Europe, Africa, and multiple points across the globe.\r\n\r\n<br \/>\r\n<br \/>\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n<br \/>\r\n<strong>Anthony Ramos<\/strong> was born in 1944 in Providence, Rhode Island, and lives in the South of France. He studied painting at Southern Illinois University and received an M.F.A. from the California Institute of the Arts, where he was graduate assistant to Allan Kaprow. He has received a National Endowment for the Arts Visual Arts Fellowship, a Rockefeller Foundation Fellowship, and an Aspen Fellowship from the Aspen Institute, among other awards. In the 1970s Ramos was a video consultant for the United Nations and the National Council of Churches. He lived in Paris in the 1980s, where he was a Professor at the American Center and oversaw the first television cabling of Paris. During the 1970s and 1980s, Ramos traveled widely in Europe, Africa, China and the Middle East. He recorded video during the end of Portugal's colonial rule of Cape Verde and Guinea-Bissau, in Teheran during the 1980 hostage crisis, and in Beijing just prior to the Tiananmen Square massacre. He taught at Rhode Island School of Design, New York University, and the University of California at San Diego, among others. In the late 1980s he turned to painting as his primary medium. He has exhibited his paintings at numerous international venues, including the American Jazz Museum and Bruce R. Watkins Cultural Center, Kansas City; Biennale de Dakur, Senegal; and Galerie du Dragon, Paris, among others. <br \/>\r\n<br \/>\r\nRamos' video works have been shown internationally, including at the Pasadena Art Museum, California (1973); Mus\u00e9e d'Art moderne de la Ville de Paris (1974); Whitney Museum of American Art (1975) and The Museum of Modern Art, New York (1992), among others. Recent screenings and exhibitions of Ramos' early video work include Light Industry in New York (2010); <em>Circa 1971: Early Video & Film from the EAI Archive<\/em> at Dia: Beacon (2011-2012); <em>The Embodied Vision: Performance for the Camera<\/em> at the Museu Nacional de Arte Contempor\u00e2nea do Chiado in Lisbon (2014); <em>Anthony Ramos: Vid\u00e9o et apr\u00e8s<\/em> at the Centre Pompidou in Paris (2014), and <em>Tell It Like It Is: Black Independents in New York, 1968-1986<\/em> at the Film Society of Lincoln Center, New York (2015).\r\n\r\n\r\n\r\n\r\n<\/font>\r\n<\/td><\/tr>\r\n\r\n\r\n<tr>\r\n<td colspan=\\"3\\" valign=\\"top\\">\r\n <br \/>\r\n \r\n<p class=\\"twelvebold\\"><br \/>\r\n\r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">___________________________________\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n<br \/>\r\n\r\n <strong>About EAI<\/strong><br \/>\r\n <br \/>\r\nEAI is one of the world's leading resources for moving image art. Founded in 1971, EAI is a New York-based nonprofit organization that fosters the creation, exhibition, distribution, and preservation of video and media art. EAI holds a major collection of over 3,500 new and historical media artworks, from groundbreaking early video by pioneering figures of the 1960s to new digital projects by today's emerging artists. EAI works closely with artists, museums, schools and other venues worldwide to preserve and provide access to this significant archive. EAI also presents public programs such as artists' talks, exhibitions and panels; extensive digital resources; viewing access; technical facilities, and educational services. EAI's Online Catalogue is a comprehensive resource on the artists and works in the EAI collection, and features expansive materials on media art's histories and current practices:\r\n<strong><a href=\\"http:\/\/www.eai.org\\" target=\\"_blank\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">www.eai.org<\/font><\/a><\/strong><\/font><\/font><br \/><br \/>\r\n\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/>\r\n <br \/>\r\n \r\n <p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n\r\n\r\nElectronic Arts Intermix<br \/>535 West 22nd Street, 5th Floor<br \/>New York, NY 10011<br \/>t (212) 337-0680<br \/>f (212) 337-0679<br \/>\r\n<strong><a href=\\"mailto:info@eai.org\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">info@eai.org<\/font><\/a><\/strong><\/font><\/p>\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n<strong><a href=\\"http:\/\/www.facebook.com\/pages\/Electronic-Arts-Intermix-EAI\/69797591849?ref=nf\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Facebook<\/font><\/a><\/strong><br \/>\r\n<strong><a href=\\"http:\/\/twitter.com\/#!\/eai_org\\" target=\\"_new\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">EAI on Twitter<\/font><\/a><\/strong>\r\n<\/font><\/p>\r\n\r\n\r\n<font size=\\"1\\" face=\\"Verdana, Arial, Helvetica, sans-serif\\">___________________________________<\/font><br \/><br \/>\r\n\r\n<p class=\\"onefive\\"><font style=\\"text-decoration:none\\" color=\\"#000000\\">\r\n<img src=\\"https:\/\/www.eai.org\/user_files\/supporting_documents\/The%20ARTS%20Council%20and%20NYSCA_small.jpg\\" width=\\"150\\" hspace=\\"0\\" vspace=\\"0\\" border=\\"0\\"\/><img src=\\"https:\/\/www.eai.org\/user_files\/supporting_documents\/dca_logo_web_0807_3.jpg\\" \/> <br \/>\r\n<br \/>\r\n\r\nThis program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. This program is also funded by New York State Council on the Arts' Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes (www.NYSCA.org www.eARTS.org). EAI receives program support from The Andy Warhol Foundation for the Visual Arts.<br \/>\r\n<br \/>\r\nWith special thanks to Bill Seery and Mercer Media.\r\n<\/font><\/p><br \/>\r\n\r\n\r\n\r\n\r\n<\/td>\r\n\r\n\r\n<\/tr>\r\n\r\n<\/table>\r\n\r\n\r\n\r\n<\/body>\r\n<\/html>\",
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