This book will be the first major monograph on the work of Haines’s oeuvre, which builds on the evolution of Modernism as much as it harkens back to the Bronze Age. The clearest expression of this is a series of 1,000 elemental bronze “artifacts” he has created over the course of nearly fifty years, to which he contributes yearly, ranging from palm-size to colossal outdoor works. He calls this output “a personal archaeology,” or “an archaeology of the subconscious,” referencing ancient tools, animal and human shapes, and the synchronicity of antique forms with the purely abstract.
Haines’s interest in psychology and anthropology has deeply informed his art. Working in a Modernist tradition, his career has pursued a continuing exploration of the formal attributes of sculpture: form, scale, negative space, and composition. As Haines sees it, one of the satisfactions of sculpture is that ideas such as wholeness, beauty, and timelessness can be expressed without words and one of the critical elements of this wordless communication is negative space. Thus, the doorways, windows, and silhouettes of his sculptures can suggest an area larger than the sculpture itself.
Born in 1942, Haines grew up in Ohio. He holds a Bachelor of Arts degree from the University of Colorado, Boulder, a Master of Business Administration from Harvard University, and he is a graduate of the School of the Museum of Fine Arts in Boston. He is a founding member of the Boston Sculptors Gallery and co-founder of the Vermont Gentlemen’s Foundry. His work has been shown in numerous solo and group exhibitions, and can be found in the DeCordova Museum and Sculpture Park in Concord, Massachusetts, and the Chen Yunxian Museum in Nanchang, China, among other collections in Boston, New York, and South Korea. Haines lives and works in Cambridge, Massachusetts.

A biographer, art historian, and fine arts journalist, Belinda Rathbone has written widely on twentieth-century art and photography. She is the author of the critically acclaimed George Rickey: A Life in Balance, and Walker Evans: A Biography. She was also the principal essayist for the The Artist Book Foundation’s monograph, George Sherwood: Wind, Waves, and Light. Murray Whyte is an award-winning journalist and art critic at The Boston Globe. He was also the cultural journalist and art critic at the Toronto Star and he has contributed to many international publications, including The New York Times, The Guardian (UK), The Times of London, The New York Observer, and Esquire magazine, among others. He is the winner of a National Newspaper Award for his critical writing.

Foreword Murray Whyte
“Peter Haines: From Hand to Hand”
Belinda Rathbone
Artist’s Statement,
Peter DeCamp Haines
Plates
Chronology
Exhibition History
Acknowledgements
Photography Credits

It all begins with a lump of wax. The form is in there; it’s a question of finding it. “My ideas come from the muck,” Peter Haines has said of his work in sculpture. As he kneads it with his fingers, the wax softens under his pressure and begins to respond. Prodding, pinching, he adds and subtracts. An oblong shape might become a fish, or it could be a spear that grows legs and becomes a bear. The “muck”
Haines refers to is, on the one hand, the actual material that he shapes with his hands into sculptural forms, later to cast them in bronze. From another perspective, it is the archaeological site of his imagination, where ancient artifacts are unearthed and their messages given new life.