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James Collins

James Collins (Born in Northampton, UK in 1939) was a conceptual artist, photographer, painter and writer-critic. Moving to the USA at the age of 31 he frequently travelled back and forth between the countries until finally settling in his land of birth until his death in 2021.

 

His earliest work was as an art theorist and he found a home in the US wing of the conceptual art group Art & Language that was based around Joseph Kosuth and the Fox publication. He wrote a number of articles for the group and also a number of stand alone important artist’s books such as Revision and Prescription in 1971 but was criticised by some in the British wing, of the oft intolerant group, because of his commercial articles in art magazines. He exhibited in the important Narrative Art exhibition in Galerie Templon, Paris in 1979 and before that in Lucy Lippard’s 3,549,000 conceptual initiative in Buenos Aires.

 

In the mid 70s Collins created a number of very important conceptual art works usually referred to as Introduction Pieces – he accosted strangers in the street and asked them to take part in small, easy actions (such as showing him some treasured item in their possession or introducing two strangers to each other). Usually these works were accompanied by photographs by Collins or even a commercial produced strip of portraits if they could be persuaded to follow the artist to one of the photobooths usually found in London’s train stations and post offices. He also collected signed certificates by the participants indicating their agreement to be taking part in a work of art: sometimes those certificates were in themselves the artwork. These clearly conceptual works overlapped the artist’s increasing interest in photography.

 

He began to be better known as a photographer in the mid-1970s when a series of colour and b/w images of himself typically gazing at women – usually with a considered physical or abstracted gap between them – were exhibited giving the impression of alienation or even distrust between the figures. These works were often considered as part of an emerging movement concerned with inferred narrative in art called “Story Art” along with other artists such as Bill Beckley, Mac Adams and Peter Hutchinson. His later photographic career was even more concerned with erotica – with his hiring models to pose for him often with a mild sexual frisson.

 

His method of creation usually took the form of short Super 8 films from which he selected still images for display. In some installations (such as at Documenta 6) he showed still images alongside the films as installations.

 

Collin’s career continued with him creating many paintings in pastel or oils again of women (usually using photography or film as source material) but his seeming obsession with the female form and its sexuality became tired and even objectionable with the rise in feminist criticism of the “male gaze”. By 1988 as exhibitions began to be less frequent he regarded his career as being in the doldrums and while he continued to paint (mostly in pastels), he became something of a recluse with depression and other mental health issues. He continued to take photographs throughout his late career but the imagery was often his own painted works.

 

While the criticism of his pronounced “male gaze” is a fair one, Collins artistic practice is both historically and aesthetically important – some have suggested his post-modernist objectification of gender roles predates the work of Richard Prince and Jeff Koons and much of his mid-career and late photographic output may be seen as studies in gender psychology. His death in 2021 was sadly a lonely one.

UNTITLED. UNIQUE ARTIST’S BOOK – THE ARTIST’S THESIS. 1963.

37.5 x 29cm, 86pp - printed on various stocks, some double sided. Applied collaged material, silkscreen prints, paint and typed text. Bound with two thick card boards and plastic comb binding. A remarkable undertaking by Collins who produced this highly complex artist’s book for his National Diploma in Design thesis at St. Martins School of Art. The lengthy hand-typed text outlines his philosophy in art alongside multicoloured printed pages and collaged hand painted elements on plastic and paper. The end papers are manipulated to allow the text on the final page to be read and the subtitles/section titles are hand applied in Letraset. There are also several pages of cutouts from magazines which have been pasted down to create interesting collaged pages which he refers to as “Influences”. The board covers have both collaged elements placed on them. The condition is mostly VG - although there is some water staining on some pages which can be seen in the photographs. There are creases to the boards and the occasional other stain but this is a lovely book which was created by the conceptual artist with some care and thought. The plastic comb binding is not complete with two of the fingers broken off as typical of such bindings after so many years. A remarkable work which not only defines the aesthetic and conceptual approaches of the artist during his earliest years but is a lovely and carefully made construction.

£2,950.00

TEACHING NOTES. 1964 – 1969.

A collection of original typed notes and reproduced pages (xeroxes and mimeographs ) on different paper sizes and stocks. Around 70 pages in total in an unprinted blue folder (added later by Collins it seems) as well as front and back card boards with handwritten title "Teaching Notes". "Teaching Notes" was "my own teaching programme I used () in England from '64 through '69, respecting art as a consequence of people and their behaviour rather than objects and there arrangement" - Collins wrote in his 1978 ICA monograph and singled out the material as part of his significant artistic practice in the chronological survey of his work at the beginning of that book (pg 10). Many of the exercises Collins gave to his students are clearly in the realm of concept art. Minor edge wear and browning but in the main VG+.

£495.00

SCRAP BOOK WITH ORIGINAL SMALL PAINTINGS & DRAWINGS. 1965/66.

London (?): s.p., n.d. (c. 1969) 25 x 20cm commercial note book ("The Kinnoull Note Book") content of c. 100pp of blank lined pages to which Collins has attached small abstract paintings, or inserted folded and unfolded sheets of paintings along with hand-written texts. A mix of scrapbook (some items such as printed fabrics are stapled to the internal pages) and sketch book, the works are in the main abstract gouaches. Unique. it is signed on the inside front cover in felt tipped pen and later dated by Collins in green felt tipped ink as "About 1965/66?". Covers are very grubby and the book appears chaotic with oversize pages on browned paper inserted and oversize to the pages causing some edge damage but it is as Collins kept it.

£495.00

SKETCHBOOK. BEGAN 1966. MANY ORIGINAL SMALL PAINTINGS.

32 x 20cm, c 120pp plus red cloth covered boards - a commercially purchased "diary" type notebook with lined pages. A sketchbook began on 20 August 1966 according to a note by Collins on the inside front cover. Inside are many coloured small paintings attached to the pages using Scotch tape by the artist plus texts discussing the artist's abstract experiments. This is one of a small number of such unique books made by Collins as part of his practice. Many of the pages are torn or browned or folded and many of the strips of Scotch tape are browned and have lost their adhesion but this is an interesting find - especially from an artist who was not particularly known for his use of abstraction in his works (although colour was an important part of his photographic practice). Unique.

£600.00

DIARY. 1967.

Commercial 13.5 cm Sanyo audio tape in plastic storage box with typed label. The label suggests this is an audio diary made by James Collins in 1967. At this point we have not listened to this tape and it is not for sale until we know the contents. VG+.

ENVIRONMENTALS REVERSAL. 1969.

London: Camden Arts Centre, 1969 72 x 51cm (open size) folds to 9.5 x 26cm). Mailer, catalogue and exhibition poster for this important conceptual art event in London with the participation of Paddy Lovely, Stuart Brisley, Chris Dawson, Sandri Wheeler, Bill Culbert, David Lamelas, Eric Brown, Eventstructure Research Group, Ed Herring, Ivor Abrahams, James Collins, and Mark Chaimowicz. The works were created in the new gardens of the Arts Centre and all have either an environmental tinge or are conceptual works. All are illustrated in b/w along with short artist's biogs and one side of the publication opens out to become the poster for the event.

£395.00

PROJECT: WALKING. 1969. UNREALISED CONCEPTUAL ART WORK

N.p.: s.p. (Collins), 1969 30 x 21cm, 1pp typed page with instructions for a conceptual artwork project where the participant is told to walk a certain distance and stop at regular intervals and "(assess) the things in immediate vicinity"). .... Explore the idea of "travel" fos series of events." Somewhat browned and creased. Found amongs7 Collin's archive in one of his scrapbooks of ideas for works.

£125.00

SCRAP BOOK WITH ORIGINAL SMALL PAINTINGS. c. 1969.

London (?): s.p., n.d. (c. 1969) 26 x 20cm diary style commercial book (with "High Wycombe College of Technology and Art" embossed cover) content of c. 100pp of blank pages to which Collins has attached small abstract paintings, or inserted folded sheets of paintings along with hand-written texts. A mix of scrapbook (some items such as printed fabrics are stapled to the internal pages) and sketch book, the works are in the main abstract gouaches. The book appears chaotic with oversize pages on browned paper inserted but it is as Collins kept it. Unique. it is signed on the inside front cover in ink. We estimate the date as 1969 due to letters found inside the book (removed to place in a different part of this archive).

£495.00

PROCESS PIECE NO 4 OF “STRANGERS”. 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of Collins and a text: "This is to certify that the person shown on the left is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "And I agree to participate in an art work by having four poly-Photo photographs taken at his expense which would become his property ad be attached to this form. Signed:" Each of the four sheets have been filled in by different people and signed. Each sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject attached by a vintage paper clip. The photographs vary interestingly - one person has only shown the top of her head, another shows two girls together, a third has a man in a bandana hiding his face and the last an elderly woman. Collins has tipped all four sheets together onto a single 58 x 41cm sheet of card for a home-made exhibition. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top in three places which have bled some o the glue through the paper to leave a mark. PRICE IS FOR ALL FOUR WORKS AS A GROUP - BUT WE MAY BE WILLING TO SPLIT UP THE GROUP - PLEASE ENQUIRE.

£1,250.00

CERTIFICATION PIECE NO 5 OF “STRANGERS”. 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of Collins and a text: "This is to certify that the person shown on the left is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "And I agree to participate in an art work by certificating that: Photo 1 shows a head with both eyes open/Photo 2 shows a head with left eye closed./Photo 3 shows a head with right eye closed/Photo 4 shows a head with both eyes closed. Signed:" Each of the four sheets have been filled in by different people and signed. T Collins has tipped all four sheets together onto a single 58 x 41cm sheet of card for a home-made exhibition. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top and bottom of the sheet in three places which have bled some o the glue through the paper to leave a mark. PRICE IS FOR ALL FOUR WORKS AS A GROUP - BUT WE MAY BE WILLING TO SPLIT UP THE GROUP - PLEASE ENQUIRE.

£1,250.00

SELECTION PIECE NO 9 OF “STRANGERS”. 1970. A UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) An original xerox sheets - 27 x 20.5cm, 1pp. The sheet has the following text: "This is to certify that James Collins is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and I agree to participate in an art work by having a photograph taken of any 3 dimensional object on my person I understand this will be shown along with this form. Signed:" The sheet has been filled in by someone called J. Furlong and dated May 14 1970 at Oxford Street and signed. There is also a large 24.5 x 19cm original b/w photograph by Collins on thick photographic paper of a wrist watch worn by the participant. Collins has tipped both the form and the card together onto a single 29 x 41cm sheet of card for a home-made exhibition. This is a unique vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. Both form and photograph are in VG+ condition but are tipped onto the card using tape at the top of the sheet/photograph.

£1,450.00

PROCESS PIECE NO 4 OF “STRANGERS”. 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of Collins and a text: "This is to certify that the person shown on the left is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "And I agree to participate in an art work by having four poly-Photo photographs taken at his expense which would become his property ad be attached to this form. Signed:" Each of the four sheets have been filled in by different people and signed. Each sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject attached by a vintage paper clip. The photographs vary interestingly - one person has only shown the top of her head, another shows two girls together, a third has a man in a bandana hiding his face and the last an elderly woman. Collins has tipped all four sheets together onto a single 58 x 41cm sheet of card for a home-made exhibition. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top in three places which have bled some o the glue through the paper to leave a mark. PRICE IS FOR ALL FOUR WORKS AS A GROUP - BUT WE MAY BE WILLING TO SPLIT UP THE GROUP - PLEASE ENQUIRE.

£1,250.00

PROCESS PIECE NO 4 OF “STRANGERS” (VARIANT). 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of Collins and a text: "This is to certify that the person shown on the left is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "And I agree to participate in an art work by having four poly-Photo photographs taken at his expense which would become his property ad be attached to this form. Signed:" Each of the four sheets have been filled in by different people and signed. Each sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject attached by a vintage paper clip. This version of Progress Piece No 4 of "Strangers" differs from the other example we are offering in that on the left Collins has reproduced his own "poly-photograph" with his eyes closed as per his own instructions. The photo booth photographs vary in each with two showing girls and two, men. Collins has tipped all four sheets together onto a single 58 x 41cm sheet of card for a home-made exhibition. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top in three places which have bled some o the glue through the paper to leave a mark. PRICE IS FOR ALL FOUR WORKS AS A GROUP - BUT WE MAY BE WILLING TO SPLIT UP THE GROUP - PLEASE ENQUIRE.

£1,450.00

THIS IS TO CERTIFY THAT THE PERSON SHOWN IN THE PHOTOGRAPH IS A COMPLETE STRANGER TO ME…. 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of Collins and a text: "This is to certify that the person shown in the photograph is a complete stranger to me and I agree to participate in an art work by giving the following information:" and the fields "Place/Time/Date and Signature". Each of the four sheets have been filled in by different people and signed. Collins has tipped all four sheets together onto a single 58 x 41cm sheet of card for a home-made exhibition. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top. PRICE IS FOR ALL FOUR WORKS AS A GROUP - BUT WE MAY BE WILLING TO SPLIT UP THE GROUP - PLEASE ENQUIRE.

£1,250.00

SELECTION PIECE NO 9 OF “STRANGERS”. 1970. A UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) An original xerox sheets - 27 x 20.5cm, 1pp. The sheet has the following text: "This is to certify that James Collins is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and I agree to participate in an art work by having a photograph taken of any 3 dimensional object on my person I understand this will be shown along with this form. Signed:" The sheet has been filled in by someone called James Goldin and dated May 14 1970 at Oxford Street and signed. There is also a large 24.5 x 19cm original b/w photograph by Collins on thick photographic paper of a hat worn by the participant. Collins has tipped both the form and the card together onto a single 29 x 41cm sheet of card for a home-made exhibition. This is a unique vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. Both form and photograph are in VG+ condition but are tipped onto the card using tape at the top aof the sheet/photograph.

£1,750.00

EXCHANGE PIECE PARTS 1 – 4. 1970. FOUR UNIQUE CONCEPTUAL ARTWORKS.

London: s.p. (Collins), n.d. (1970) Four separate original xerox sheets - each 27 x 20.5cm, 1pp. The sheet has a reproduced photograph of a ten shilling postal order and a text: "This is to certify that the person shown on the left is a complete stranger to me and that he approached me -" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and I agree to participate in an art work by signing this form in exchange for which I understand James Collins will give me a genuine postal order to the value of 10/-form. Signed:" Each of the four sheets have been filled in by different people and signed. Each sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject attached by a vintage paper clip. Essentially this is a collection of four vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. All are in VG condition but are tipped onto the card using tape at the top in one place. Collins denotes these 4 works as "Exchange Pieces" and are number 6 of the "Strangers" series. PRICE IS FOR ALL FOUR WORKS AS A GROUP.

£995.00

EXTERIOR – INTERIOR PIECE. NO 7 OF “STRANGERS”. PART 2. 1970. UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) 27 x 20.5cm, 1pp original xerox sheet. The sheet has four poly-photo (passport photographs) and a text: "This is to certify that James Collins is a complete stranger to me and that he approached me:" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and that I agree to participate in an art work where I move my head from side to side very slowly and at the same time think of myself moving it very fast. The piece would be documented by four Poly-Photos paid for by James Collins and attached to this form. Signed:" The sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject tipped onto the paper carrying out the action. Collins has mounted the xerox onto card for exhibition using two strips of adhesive tape. Essentially this is a vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. VG + condition but are tipped onto the card using tape at the top and bottom.

£495.00

EXTERIOR – INTERIOR PIECE. NO 7 OF “STRANGERS”. PART 3. 1970. UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) 27 x 20.5cm, 1pp original xerox sheet. The sheet has four poly-photo (passport photographs) and a text: "This is to certify that James Collins is a complete stranger to me and that he approached me:" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and that I agree to participate in an art work where I move my head from side to side very slowly and at the same time think of myself moving it very fast. The piece would be documented by four Poly-Photos paid for by James Collins and attached to this form. Signed:" The sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject tipped onto the paper carrying out the action. Collins has mounted the xerox onto card for exhibition using two strips of adhesive tape. Essentially this is a vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. VG + condition but are tipped onto the card using tape at the top and bottom.

£495.00

EXTERIOR – INTERIOR PIECE. NO 7 OF “STRANGERS”. PART 4. 1970. UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) 27 x 20.5cm, 1pp original xerox sheet. The sheet has four poly-photo (passport photographs) and a text: "This is to certify that James Collins is a complete stranger to me and that he approached me:" and with the fields "Place/Time/Date completed by the subject of the work. The text continues "and that I agree to participate in an art work where I move my head from side to side very slowly and at the same time think of myself moving it very fast. The piece would be documented by four Poly-Photos paid for by James Collins and attached to this form. Signed:" The sheet has an original and vintage "poly-photo" (nowadays more commonly called a Passport Photographic Strip) of the subject tipped onto the paper carrying out the action. Collins has mounted the xerox onto card for exhibition using two strips of adhesive tape. Essentially this is a vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. VG + condition but are tipped onto the card using tape at the top and bottom.

£495.00

PERFORMANCE-DURATION PIECE. NO 10 OF “STRANGERS”. 1970. UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) 27 x 20.5cm, 1pp original xerox sheet. The sheet has a text: "This is to certify that James Collins is a complete stranger to me and that he approached me:" and with the fields "Place/Time/Date" completed by the subject of the work. The text continues "and that I agree to participate in an art work where I understand will consist of a promised physical action from four complete strangers independent of each other. The following are my own choices:" The fields "(a) Description of action:/(b) Length of time:/ (c) Time of day (d) Location:/ (e) Date:" which were filled in by the subject of the work. The text continues: "I will keep a copy of this form and promise to carry out the specifications above. Signed:" The sheet has been filled in with the responses "Clap hands/2 minutes/Afternoon/Kensington/June 29th 70" by the subject and signed "Ben Shank". Collins has mounted the xerox onto card for exhibition using two strips of adhesive tape. Essentially this is a vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. VG + condition but are tipped onto the card using tape at the top and bottom.

£395.00

PERFORMANCE-DURATION PIECE. NO 10 OF “STRANGERS”. 1970. UNIQUE CONCEPTUAL ARTWORK.

London: s.p. (Collins), n.d. (1970) 27 x 20.5cm, 1pp original xerox sheet. The sheet has a text: "This is to certify that James Collins is a complete stranger to me and that he approached me:" and with the fields "Place/Time/Date" completed by the subject of the work. The text continues "and that I agree to participate in an art work where I understand will consist of a promised physical action from four complete strangers independent of each other. The following are my own choices:" The fields "(a) Description of action:/(b) Length of time:/ (c) Time of day (d) Location:/ (e) Date:" which were filled in by the subject of the work. The text continues: "I will keep a copy of this form and promise to carry out the specifications above. Signed:" The sheet has been filled in with the responses "Stand on one leg/2 minutes/12 noon/Earls Court/June 25/12/71" by the subject and signed "Alan Jones". Collins has mounted the xerox onto card for exhibition using two strips of adhesive tape. Essentially this is a vintage conceptual art works by Collins who in the 70s was interested in the dynamics of strangers meeting new people (including the artist). Such works are mentioned in Lucy Lippard's Dematerialisation of the Art Object and this is a rare find purchased directly from a friend of Collins who was given the works as a gift in the artist's last days. VG + condition but are tipped onto the card using tape at the top and bottom.

£395.00