My work investigates what we as a culture consider to be a landscape, and more generally, what we understand to be ‘real’ or ‘fake’, ‘natural’ or ‘artificial.’

For instance, my paintings often bring together traditional landscape imagery and organically created abstract elements. Which part is more ‘real,’ the two-dimensional illusion, or the abstraction, which is in fact an actual physical event?

Is ‘reality’ defined by how something is made, what it is made of, or what it documents or symbolizes? There will never be a definitive answer, but I hope my work will pose the question and hold it aloft long enough for general insights to arrive.”

Shane McAdams

Birthplace: Emporia, Kansas 1972


Selected Exhibitions

Trout Museum of Art, Appleton, WI (solo)
Schneider Museum of Art, Ashland, OR
Museum of Wisconsin Art, West Bend, WI (solo)
Elizabeth Leach Gallery, Portland, OR (solo)
Roanoke College, Roanoke, VA
Ascent Art Space, Denver, CO
Thomas Riley Studio, Naples, FL
Kirk Hopper Fine Art, Dallas, TX
Mehta Bell Projects, London, UK
Museum of Wisconsin Art, Milwaukee, WI
Haggerty Museum of Art, Milwaukee, WI
Thelma Sadoff Center for the Arts, Fond du Lac, WI (solo)
Odeon Art Fair, with Jon J. McGurk, Bogota Columbia
Scream Gallery, London, UK (solo)
A + D Gallery, Chicago, IL
Pentimenti Gallery, Philadelphia, PA (solo)
ARTISTree, Hong Kong, China
Winston Wächter Fine Art, Seattle, WA
Samson Projects, Boston, MA
Pratt Alumni Show, Pratt Institute, Brooklyn, NY (solo)
Marlborough Gallery, New York, NY
Ghost Print Gallery, Richmond, Virginia
Edward Williams Gallery, Fairleigh Dickinson University, Hackensack, NJ (solo)

Selected Bibliography

Hauer, Sara, “Artist Milks Pens to Create Lansdscapes,” The Milwaukee Journal Sentinel, March 2017
Moriarty, Judith, Journeys, Landscapes, and Bob Dylan at MOWA, Shepherd Express, Janurary, 2017
“Tom Berenz + Shane McAdams,” Isthmus Magazine, March 2016
Muckian, Michael, “Tom Berens and Shane McAdams Complement and Contrast at Watrous Gallery”, Wisconsin Gazzette, March 24, 2016
Interview on WORT, Madison, Morning Buzz, April, 2016
Heuston, Laurie, “Exploring Reality at the Schneider Museum of Art,”Medford Mail Tribune” Jan, 2016
Minerath, Kat, “Current Tendencies at the Haggerty Museum,” Shepherd Express, July, 2015
“Art City Contributors on Current Tendencies”, The Milwaukee Journal Sentinel, July 2015
Sutton, Benjamin, “In a Bushwick Park, Paintings are Growing on Trees,” Hyperallergic (photoessay)
Schumacher, Mary Louise, “Artists on Road Trip to Find Lost Avant-Garde”, The Milwaukee Journal Sentinel, April 19, 2015
“Shane McAdams’ Spilled Ink”, Farenheit Magazine, June 6, 2015
Bell, Ronald, The Ballpointer, December 2014
Voeller, Megan, “Dunedin Fine Arts World and Living Matters”, Creative Loafing, November 2014
Speer, Richard, Willimette Week, April 2014
Shemmerer, Richard, “Scorched Earth”, PDX Art Now Magazine, April 2014
Vogue, Brazil, September, 2013
Hand to Earth, Aesthetica Magazine, August 2013
Dirty Laundry Magazine, Issue 2, June 2013
Voynovskaya, Nastia, Hi Fructose, February 2013
Menkes, Susie, “Prints that tell a Story”, The New York Times, September 2012
Nnadi, Chioma, Vogue Magazine, September 2012
Newhall, Edie, The Philadelphia Inquirer, June 2012
Maszilewski, Lynn, Creative Spaces, Milk Made, June 2012
Psychology Tomorrow, Vol. 3, 2012
Art and Science Journal, March 2012
Scheifele, Kris, White Hot Magazine, February 2012
Beautiful Decay, February 2012
“Streaking Ink Paintings”, My Modern Metropolis, February 2012
“Shane McAdams Gets Straight to the (ball) Point”, Phaidon, January 2012
LaBarre, Suzanne, Fast Company, December 2011
Kim, Erica, Design Boom, November 2011
Upchurch, Michael, The Seattle Times, July 2011
D.K. Row, The Oregonian, December 2010
Richard Speer, Visual Art Source, The Huffington Post, December 2010
Matt Stangel, “Faking Real”, Portland Mercury, November 2010
R.C. Baker, Village Voice, July 16, 2008
James Kalm, Wagmag, December 2006
Mario Naves, The New York Observer, September 2006 featured artist, August 2006
Ken Johnson, “Head Over Hand”, The New York Times, January 2006