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Cue the college folding and reducing the exhibition from a three-week outdoor affair with a full gallows to a brief appearance in the corner of an indoor gallery sans gallows. “I’m hunting down your symbols and bringing them to justice,” he says, “like you were coming through my community looking for black men to hang.” Cue the death threats. Other highlights include a Civil War sci-fi narrative about gay marriage, racism and time traveling, featuring a bit part by ’70s-porn-star-turned-performance-artist Annie Sprinkle, the San Francisco icon.)Īnd sometimes Sims admittedly tosses a blazing torch into the powder magazine of white supremacy itself, such as 2004’s The Proper Way to Hang a Confederate Flag, an outdoor installation that called for the Confederate flag to be publicly hanged from a 13-foot gallows and displayed for three weeks at Gettysburg College in Pennsylvania. (The former nearly came to blows, but Sims simply recorded both confrontations for inclusion in an experimental film to be released as soon as the project reaches its 20-year conclusion. On both occasions, Sims found himself confronted by anger, first by a protester who saw Sims’s bumper stickers as “bastardizing the sacred colors” of the Pan-African flag and then by a black Harlemite who didn’t take kindly to a Confederate flag in his neighborhood, regardless of its colors. Or when he followed it up with an exhibition in Harlem in 2002, advertising the show by draping a big honking orange and green Confederate flag out front. Petersburg, handing out his own recolored Confederate flag bumper stickers to counterprotesters, Old Dixie reimagined in the red, black and green of the Black Liberation flag.
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Granted, sometimes Sims lights the match himself, such as when he kicked off The Recoloration Proclamation in 2001 in the face of a KKK rally in St. Shock the System and Hang the Confederacy “And my work hovers around the places that are ready to explode.” “Small perturbations can create gigantic outcomes,” Sim booms with an audible grin. With the right tool at the right time, could one man change the world? To offset that balance to a new equilibrium.
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Sims doesn’t pretend to understand all of the complexities of these systems or hold any particular predictive talent, but he cannot ignore the possibility of what one could accomplish if they figured out how to affect even just one system in the right way. The human experience, at both the individual and community level, emerges from the precarious balance of an ever-changing confluence of concerns, needs and myriad foci all hurtling through the national consciousness in “chaotic orbits” that appear and recede, overlap and amplify, obscure and engulf in a massive “geometry of conflict” that defines the fluidity of cultural existence. To see what has been built requires seeing the world as John Sims does-as a multitude of systems and endless cycles obeying unknowable laws in the throes of endless and unpredictable stimuli. A magnum opus pieced together in the secrecy of plain sight and that seeks to become more than the sum of its many, many parts. His work has shown in galleries across the country and been the topic of conversation in the national press.īut even these heights represent only a fraction of the artist's activity, coordinate points in a greater body of work defined more by repeated action and ritual than any one exhibition or art object. Through a provocative 20-year exploration of the iconographic power of the Confederate flag in The Recoloration Proclamation, John Sims has seemingly staked out his legacy in his own time.