Joe Scanlan is an artist whose work takes multiple forms, from sculpture and design to publications and fictional personae. There is a willful subterfuge running through much of his art, as exemplified in works that address the political economy of site-specific labor (Massachusetts Wedding Bed); scripting the life and work of a fictional artist in collaboration with professional actors (Donelle Woolford); founding, archiving, and administering an art institution (The Broodthaers Society of America); or cutting an image of a seminal art work into pieces in order to make a digital font (Palermo). Scanlan is also a widely read, discussed, and translated writer for such venues as Artforum, frieze, and Parkett, and his former website, He has published five books in relation to his work: Object Lessons (Mu.Zee, Ostende) 2013; Passing Through (K21, Düsseldorf) 2007; DIY, or How to Kill Yourself Anywhere in the World for Under $399 (Imschoot Uitgevers, Ghent) 2003; Pay Dirt (IKON, Birmingham, England) 2002; and Joe Scanlan (Museum Haus Lange, Germany) 1996.

Recent projects include Artisanal Complex, Scanlan’s fourth solo exhibition at Andriesse~Eyck Galerie, Amsterdam; New Tricks, New Schemes, Scanlan’s fifth solo exhibition at Galerie Martin Janda, Vienna; Décor and Avant-poste, two exhibitions curated from the permanent collection of the FRAC Pays de la Loire, Nantes; and a large-scale installation as part of Klassenverhältnisse (Class Relations), a group show around the subject of class and art at the Kunstverein in Hamburg.

Scanlan is a professor at Princeton University, where he was Director of the Visual Arts Program from 2009–2017 and was responsible for the total overhaul of the Program. During his tenure he revamped the curriculum, helped build a more ambitious, socially engaged environment for VIS concentrators, and greatly increased the visibility of the visual arts on campus. Most important, Scanlan expanded and diversified the full-time faculty to include Fia Backstrom, Martha Friedman, Deana Lawson, Pam Lins, Moon Molson, David Reinfurt, James Welling, and Jeff Whetstone, as well as part-time faculty Nathan Carter, Alice Chung, Demetrius Oliver, Yaara Sumeruk, Pacho Velez, and Amy Yao. Along with the long-standing contributions of Eve Aschheim and Su Friedrich, their professional accomplishments, commitment to teaching, and collegiality transformed Princeton into one of the best undergraduate schools anywhere for studying visual art.

Scanlan is also the holder of U.S. patent no. 6,488,732, which is a process for converting postconsumer waste into viable potting soil. Scanlan holds a BFA in Sculpture from the Columbus College of Art and Design, Ohio, and currently lives in New York City.


Born 1961 in Circleville, Ohio
Lives in New York

BFA, The Columbus College of Art and Design, Columbus, Ohio
The Art Institute of Chicago, Chicago

Fairly Recent Work, Robbin Lockett Gallery, Chicago
Galerie Tanja Grunert, Cologne
Galerie Micheline Szwajcer, Antwerp
Galerie Ghislaine Hussenot, Paris
Yard Sale, 1838 Wolcott Street, Chicago
Museum Haus Lange, Krefeld, Germany
D’Amelio Terras, New York
Les Moules, FRAC Languedoc-Roussillon, Montpellier, France
Pay For Your Pleasure (reprise), Museum of Contemporary Art, Chicago
Product no. 2, Los Angeles Contemporary Exhibitions, Los Angeles
Invention, D’Amelio Terras, New York
Galerie Micheline Szwajcer, Antwerp
Sic Transit Gloria, The Jewish Museum, New York
Store A, D’Amelio Terras, New York
Sidewalk Sale, Store A, Brooklyn
Frank, Joe & Co., (with Frank Gehry), Kunstmuseum Herford, Germany
Do It Yourself Dead On Arrival Pay For Your Pleasure (reprise), Insitute d’Art Contemporain, Villeurbanne
Pay For Your Pleasure (reprise), Van Abbemuseum, Eindhoven
Pay Dirt, IKON Gallery, Birmingham, England
Dirty, Galerie Micheline Szwajcer, Antwerp
Mieses to Pieces, Raum Aktuellerkunst Martin Janda, Vienna
Pay Dirt, Museum d’Art Moderne Grand Duc Jean, Luxembourg
Entropy For Sale, Galerie Micheline Szwajcer, Antwerp
Thingsthatfall, Galerie Chez Valentin, Paris
Massachusetts Wedding Bed, Galerie de Expeditie, Amsterdam
SOLONGSOLSOLONG, Institut d’Arte Contemporain, Villeurbanne
Passing Through, K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Creative Destruction, Traveling Salesman, Circular Economy, Galerie Martin Janda, Vienna
Change of Season, Galerie de Expeditie, Amsterdam
Red Flags, castillo/corrales, Paris
Diversification, Chez Valentin, Paris
Vija Celmins, Joe Scanlan, Galerie Jan Mot, Brussels
Three Works, Wallspace, New York
Möbel, Galerie Martin Janda, Vienna
Object Lessons, Kunstmuseum aan Zee, Ostend
Truffle Finds Pig, Museum aan Zee, Ostend
Abstract Labor, or: The Happy Butcher, Galerie de Expeditie, Amsterdam
Le Classisme, Villa du Parc, Annemasse, France
Veritablement, ARCO, Madrid
L’oeil Vigilant, Hauser & Wirth Bookshop and Roth Bar, New York
New Tricks, New Schemes, Galerie Martin Janda, Vienna
Collectief (with Koenraad deDobbeleer), performance lecture, University of Ghent, Belgium
Artisanal Complex, Galerie Andriesse~Eyck, Amsterdam


Store A 1999–2005
Store A [Sidewalk Sale], Brooklyn
Store A, D’Amelio Terras, New York
Store A [Win/Win], Octopus, Bruges
Store A, [Fake Accents], Galerie Micheline Szwajcer, Antwerp
Store A [Mies to Pieces], Raum Aktuellerkunst Martin Janda, Vienna
Store A, [Buy American], Chez Valentin, Paris
Store A, Wellfleet, Massachusetts

Donelle Woolford 2007–2016
Donelle Woolford: A Narrative,
Chez Valentin, Paris
Donelle Woolford: Present Future, Artissima, Torino, Italy
Donelle Woolford, Wallspace, New York
Donelle Woolford: Performative, Galerie de Expeditie, Amsterdam
Donelle Woolford: Return, Wallspace, New York
Donelle Woolford: Dan Graham Withdrawal Syndrome, The Suburban, Chicago
Donelle Woolford: Slide Lecture, The School of the Art Institute of Chicago
Donelle Woolford: Dan Graham Withdrawal Syndrome, Wallspace, New York
Donelle Woolford: Long Crosses, Wallspace, New York
Donelle Woolford: Déjà Vu, The Suburban, Chicago
Donelle Woolford: Performer/Performer/Audience/Mirror, Cedar Lake, New York
Donelle Woolford: Performer/Performer/Audience/Mirror, Visual Arts Program, Princeton University
Donelle Woolford: Piaget, White Flag Projects, St. Louis
Donelle Woolford: Dan Graham Withdrawal Syndrome, Cooper Union, New York
Donelle Woolford: Dick’s Jokes, PRELUDE 11, CUNY Grad Center, New York
Donelle Woolford: Dick’s Jokes, “Marcel Duchamp and The Copy in Contemporary Art” conference, Yale
University Art Museum, New Haven
Donelle Woolford: Malevolence, Chez Valentin, Paris
Donelle Woolford: Malevolence, Air de Paris, Paris
Donelle Woolford: Dick’s Jokes, Solomon R. Guggenheim Museum, New York
Donelle Woolford: Dick’s Last Stand, Palais de Tokyo, Paris
Donelle Woolford: Dick Jokes, Wallspace, New York
Donelle Woolford: Performer/Performer/Audience/Mirror, Tanzquartier, Vienna
Donelle Woolford: Dick’s Last Stand, national tour as part of the Whitney Biennial. January: The GPSCY, New Haven; February: The Los
Angles Art Book Fair, Los Angeles; Mandrake, Los Angeles; Wattis Institute, San Francisco; Solespace, Oakland; MOCAD, Detroit; Dorchester
Projects, Chicago; March: JACK, Brooklyn; April: The Kitchen, New York; May: Midway Contmporary Art, Minneapolis; Duffy’s Tavern,
Lincoln; White Flag Projects, St. Louis; Contemporary Art Center, Peoria
Donelle Woolford: Visiting Artist Lecture, DOVA, The University of Chicago
Donelle Woolford: Veritablement, ARCO, Madrid

Broodthaers Society of America 2015–ongoing
Founding, Broodthaers Society of America, New York
Open House,Broodthaers Society of America, New York
Reading Room, Broodthaers Society of America, New York
Facsimile Open House, Broodthaers Society of America, New York
Reading Group, Broodthaers Society of America, New York
MBnb, Broodthaers Society of America, New York
Fiction, Trust & Surveillance, Hauser & Wirth Bookshop and Roth Bar, New York
Avant-Poste, HAB, Frac Pays de la Loire, Nantes
Décor, Frac Pays de la Loire, Carquefou
The New MBnb, Open House, New York
MBnb: Marley Freeman, Speechless, Broodthaers Society of America, New York

Detail in the Cottage, Randolph Street Gallery, Chicago
get well soon, Robbin Lockett Gallery, Chicago
Beneath the Skin, Hyde Park Art Center, Chicago
Casual Ceremony, White Columns, New York
Comfort, Christopher Grimes Gallery, Santa Monica, California
Körper und Körper, Grazer Kunstverein, Graz, Austria
Improvements ? on the Ordinary, Randolph Street Gallery, Chicago
The Anonymous Museum, Chicago
Documenta IX, Kassel, Germany
I, Myself and Others, Centre National d’Art Contemporain de Grenoble, France
Oppositions and Sister Squares, Wiener Secession, Vienna
From the Hand to the Head, the Theoretical Object, Domaine de Kerguéhennec, Locminé, France
Twelve Artworks in Space, Domaine de Kerguéhennec, Locminé, France
Gaylen Gerber and Joe Scanlan, Nicole Klagsbrun Gallery, New York
The Ecstasy of Limitations, Gallery 400, The University of Illinois at Chicago
Guys Who Sew, University Art Museum, Santa Barbara, California
Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design
Optimism, Hirsch Farm Foundation, Hillsboro, Wisconsin
Aperto, Le Nouveau Musée, Institute d’Art Contemporain, Villeurbanne
Cosmos, Centre National d’Art Contemporain de Grenoble, France
Art in Chicago: 1945-1995, Museum of Contemporary Art, Chicago
Niemansland, Museum Haus Esters and Lange, Krefeld, Germany
Spaces Between, D’Amelio Terras, New York
12th Biennale of Sydney, Sydney Australia
EV+A, Limerick Gallery of Art, Limerick, Ireland
Reality Bites: Approaches to Representation in American Sculpture, The Culural Center, Chicago
Waste Management, Art Gallery of Ontario
Deja Vu, Miami Art 2000
Worthless (Invaluable), Moderna Galerija, Ljubljana, Slovenia
Against Design, Institute of Comtemporary Art, Philadelphia; Museum of Contemporary Art, San Diego, Palm Beach Contemporary Art
Museum, Palm Beach, Florida
C2C, New Langton Arts, San Francisco
Art On Paper 2000, Weatherspoon Art Gallery, University of North Carolina, Greensboro
Making the Making, Apex Art, New York
Promises, Vancouver Contemporary Art Gallery, Vancouver, Canada
Multiple Objets de Désir, Musee des Beaux-Arts de Nantes, Nantes, France
No Ghost, Just a Shell, Kunstalle Zürich, Zürich; traveling to Museum of Modern Art, San Francisco; Institute of Visual Culture, Cambridge,
Ideas for Living, de Inkijk, Rotterdam
Octopus, Bruges, Belgium
DIY, Galerie Jan Mot, Brussels
Transform the World, Wako Works of Art, Tokyo
In Arcadia et Ego, FRAC Languedoc-Rousillon, Montpelier
About We, Van Abbe Museum, Eindhoven, Holland
Histoires Contemporaines, Institut d’art Contemporain, Villeurbanne
Convertible, CCC, Tours, France
Collection De La Cruz, Miami
BUY AMERICAN, Galerie Chez Valentin, Paris
Better Living, Mercer Union, Toronto
I Am The Walrus, Cheim & Read, New York
Curious Crystals of Unusual Purity, P.S. 1, Queens, New York
Work Surfaces, Galerie Jan Mot, Brussels
BMW, The IX Baltic Triennial, Contemporary Art Center, Vilnius
Invisible Hands and the Common Good, Champion Fine Art, Los Angeles
Spring/Summer, Program, London
Withdrawal (curated), Galerie Chez Valentin, Paris
Carte Blanche, agnès B., Paris
Celebration Park,
Musée d’Art Moderne de la Ville de Paris, Paris
Wat is/wat zou kunnen, W139, Amsterdam
Intouchable, L’idéal Transparence, Villa Arson, Nice
Data Mining (curated), Wallspace, New York
Hyper Design, The Shanghai Biennial, Shanghai
Broken Lines, Printemps du Septembre, Toulouse
Tina B, The Prague Contemporary Art Festival, Prague
Cluster, Participant, Inc., New York
Six Feet Under, Kunstmuseum Bern, Switzerland
Instantané, Le Musee de Grenoble, Grenoble
Le Palais des Etoiles, Dadadandy program of artworks, Selfridges, London
Still Life, The 8th Sharjah Biennial, Sharjah, United Arab Emirates
Intocable: el ideal de la transparencia, Museo Patio Herreriano, Valladolid, Spain
Double Agent, ICA, London
Can Art Do More?, ArtFocus 2009, Jerusalem
About We, Tate Modern, London
The Malady of Writing: A project on text and speculative imagination, MACBA, Barcelona
Gagarin, The artists in their own words, S.M.A.K., Ghent
Passing Through: Cabinet Jurino by Potential Estate, Museum voor Schonen Kunsten, Antwerp
The Way It Wasn’t: Celebrating Ten Years of castillo/corrales, Midway Contemporary Art, Minneapolis
Avant Garde: Specters of the Nineties, Marres Center for Contemporary Culture, Maastricht
New Media, New Forms, Montclair Art Museum, Montclair, New Jersey
Umbrella Corner, Projekte SD, Barcelona
In Deed: Certificates of Authenticity in Art, Drawing Center, New York
Postscript: Writing After Conceptual Art, Museum of Contemporary Art, Denver; Powerplant, Toronto
Thingsthatfall, New York Art Book Fair, MoMA PS1 Museum, New York
I Am Another World, Akademie der Bildende Kunste, Vienna
Petals on the Wind, Galerie Micheline Szwajcer, Brussels
Thingsthatfall, New York Art Book Fair, P.S. 1 Museum, New York
The * of Love [curated], Galerie Martin Janda, Vienna
Second Degree Reality: Harald Klingelhöller, Joe Scanlan, and others, “ Kaiser Wilhelm Museum, Krefeld
Avant-Poste, HAB, Frac Pays de la Loire, Nantes
Décor, Frac Pays de la Loire, Carquefou
Klassenverhältnisse, Kunstverein in Hamburg
Poppositions 8, Brussels
Satellite, Galerie Martin Janda at Hochhaus Herrengasse, Vienna
Permanent Collection, Mu.Zee, Ostend, Belgium

1996    Joe Scanlan, Museum Haus Lange, Krefeld: Kaiser Wilhelm Museum.
1999    Nesting Bookcase, The First Decade: 1989–1999, Brooklyn: Store A.
2003    Pay Dirt, Birmingham, England: Ikon Gallery.
2007    Passing Through, exhibition catalogue, Düsseldorf: K21 Kunstsammlung Nordrhein-Westfalen.
2012    Object Lessons, Ostend and New York: Museum aan Zee and Dexter Sinister.

“The Ballad of Ed Ruscha,” Parkett 55 (June): 60-5.
“DIY: A Scrapbook on Waste Management and Death,” Waste Management exh. cat., Toronto: The Art Gallery of Ontario: 46–47.
Poststructuralism in Country and Western Music, Steve Canal Jones, ed., Brooklyn: Store A.
DIY or How To Kill Yourself Anywhere in the World for Under $399, Ghent: Imschoot Uitgevers.
“The Undertaker’s Art: A 4-part Television Series,” Pierre Huyghe exh. cat., Dijon: Le Consortium.
Sea View Lane, A Reader, Donelle Woolford, ed., Wellfleet, Massachusetts: Store A.
2004  “Artist’s Curate: DIY,” Artforum, (Feb.): 133–139.
“Pay Dirt: A Manifesto,” Newspaper no. 42, Galerie Jan Mot (May): 6-7.
Two Views, Herman Mellville’s “Bartleby, the Scrivener” and Joe Scanlan’s “The Window Stunt,” Brussels: Bartleby & Co.
The Final Unfettering, by Jay Chung, Wellfleet, Massachusetts: Store A.
“Instruction,” Do It, Obrist, Hans-Ulrich, ed., (Revolver: Frankfurt am Main): 318–19.
“Traffic Control,” Artforum (Summer): 123.
“Joe Scanlan on Walead Beshty,” Artforum (Jan.): 145–6
“Art and Labor: Some Introductory Ideas,” with Jessica Stockholder, Art Journal (Winter): 50–51.
“Introducing Donelle Woolford,” Parabol 2 (Vienna: Parabol Magazine): 35–38.
Circular Economy, Gabriel Greenberg, Sean Herman, et al., dvd with soundtrack, Wellfleet, Massachusetts: thingsthatfall.
“Please, Eat the Daisies,” Design as Art, Alex Coles, ed., Cambridge: The MIT Press.
“Modest Proposals,” Artforum (April): 312–319.
Dear Oxnard, by Jacob Rhodes, fanzine, New York: Thingsthatfall.
People in Trade, AA Bronson, Marcel Broodthaers, et al., New York: thingsthatfall.
Red Flags, Paris: Paraguay Press.
“Giving Credit Where Credit is Due,” Sol LeWitt: 100 Views, North Adams, Massachusetts and New Haven: MassMoCA and Yale University
Press, 2009.
“23 Thoughts About Dirt,” Yale University Art Gallery Bulletin: State of the Art:Contemporary Sculpture, New Haven: Yale University Art
Gallery, 2009: 106–109.
“Working diagram for an exhibition on the theme of wandering,” Yale University Art Gallery Bulletin: State of the Art: Contemporary
, New Haven: Yale University Art Gallery, 2009: 110–111.
“Comerciantes—o, Olvidemonos de Warhol,” in Conceptualismo y Economia, Sophia Hernandez Chong Cuy, ed., Bogota: 15–18.
“The Brutal Truth,” frieze (April): 28.29.
“Democracy Cutie,” Aprior (Brussels: Aprior): 335.
“Small Wonder: Vija Celmins,” Newspaper 98–99, Galerie Jan Mot, Brussels (October): 3.
“Fair Use: Tino Sehgal,” Artforum (May): 220–221.
“The Uses of Disorder: Felix Gonzalez-Torres,” Artforum (February): 162–169, 226.
“Post Post-Studio,” in The Studio Reader: On the Space of Artists, Mary Jane Jacob
and Michelle Grabner, eds, Chicago: The University of Chicago Press: 152–53.
Object Lessons, Ostend and New York: Museum aan Zee and Dexter Sinister.
Dick Jokes: Donelle Woolford, New York: McNally Jackson and Commerce Books.
Sturtevant: False Warhols, New York: Commerce Media.
Poststructuralism In Country & Western Music: Expanded Edition, New York: Commerce Books.
Dick Jokes, Extended Edition: Donelle Woolford, New York: Commerce Media.
1907, A Cookbook: Donelle Woolford, Marakech Biennial
Le Classisme, Villa du Parc, Annemasse, France
“No Sabor” [Not Knowing], Es El Arte un Misterio o un Ministerio?, Buenos Aires: Siglio
Veintiuno / Universidad Torcuato di Tella.
Paragraphs on Deceptual Art, Vienna: Galerie Martin Janda.
Classism: An Introduction, Hamburg: Kunstverein in Hamburg