Simone Subal Gallery

Installation view, Just Connect, MCA Chicago , 2020.  Photo: Nathan Keay, © MCA Chicago

B. Ingrid Olson. Nape, Delay, 2019. Inkjet print and UV printed matboard in aluminum frame. 18 × 26 inches (45.72 × 66.04 cm).

Installation view, New Visions, The Henie Onstad Triennial for Photography and New Media, Henie Onstad Kunstsenter, Høvikodden, Norway, 2020. Photo: Øystein Thorvaldsen.

B. Ingrid Olson. Triangular composition (wound and piercing), 2019. Inkjet print and UV printed matboard in aluminum frame. 30 × 20 ¼ inches (76.20 × 51.44 cm).

Installation view, Cabin, [4.3.2020 – 4.4.2020], Sweetwater, Berlin, Germany, 2020. Photo: Diana Pfammatter.

B. Ingrid Olson. Tied knots, pulled bow, she, multiple, 2019. Inkjet print and inlayed UV printed matboards in aluminum frame. 34 × 30 ½ inches (86.36 × 77.47 cm).

B. Ingrid Olson. Photography (knot, pin, concrete, plastic, oil, years), 2019. Inkjet print and UV printed matboard in aluminum frame. 12 × 18 inches (30.48 × 45.72 cm).

Installation view, Fingered Eyed, i8 Gallery, Reykjavik, Iceland, 2019.

Installation view of Being: New Photography, 2018, Museum of Modern Art, New York. Photo: Martin Seck.

Model for a folded room, bound girdle, 2017. UV printed MDF, PVA size, Plexiglas, screws. 23 ½ × 28 ¼ × 7 inches. Photo: Martin Seck.

Installation view of Picture Fiction: Kenneth Josephson and Contemporary Photography, The Museum of Contemporary Art, Chicago, 2018. Photo: Nathan Keay.

Tawny split, delay, 2018. Inkjet print and UV printed mat board in aluminum frame. 20 × 14 inches (50.80 × 35.56 cm).

Installation view of B. Ingrid Olson & Robert Overby, Jessica Silverman Gallery, San Francisco, 2018.

Corset, Urn, 2018. Inkjet print and UV printed mat board in aluminum frame.
30 × 21 inches (76.20 × 53.34 cm). — Corset, Urn, 2018. Inkjet print and UV printed mat board in aluminum frame. 30 × 21 inches (76.20 × 53.34 cm).

Installation view of Lost Without Your Rhythm, The Aspen Art Museum, Aspen, 2018.

Projection, Body Parsed, 2018. Vinyl paint, enamel paint, latex paint, polyurethane foam, MDF, PETG plastic, fabric, plywood, screws. Dimensions variable.

Installation view of Forehead and Brain, Albright-Knox Art Gallery, Buffalo, NY, 2018.

Installation view of KLEIN / OLSON, with Astrid Klein, The Renaissance Society, Chicago, IL, 2017.

Firing distance, scission, 2017. UV printed MDF, PVA size, Plexiglas, screws.

Perimeter circle, open crest, 2017. UV printed MDF, PVA size, Plexiglas, screws. 20 ¼ × 30 × 7 inches (51.44 × 76.20 × 17.78 cm).

Rip bone pipe web, 2017. UV printed MDF, PVA size, Plexiglas, screws. 26 ½ × 18 × 6 inches (67.31 × 45.72 × 15.24 cm).

If taken turning, endless house, brain, 2017. Plywood, glue, PVA size, acrylic, vinyl paint and sand on polyurethane foam. 7 x 10 x 10 inches (17.78 x 25.40 x 25.40 cm).

From her come a gang and a run, 2016. Silver gelatin print and UV printed mat board in aluminum frame. 12 x 19 inches (30.48 x 48.26 cm).

Installation view of Frieze New York with Simone Subal Gallery, 2015.

Red lead resin flush, 2016. Inkjet print and UV printed mat board in aluminum frame. 14 x 20 inches (35.56 x 50.80 cm).

Mutilation, self delay, 2016. Inkjet print and UV printed mat board in aluminum frame. 24 x 16.5 inches (60.96 x 41.91 cm).

A big round room with a high arched roof, 2015. Inkjet print and UV printed mat board in aluminum frame. 24 x 17 inches.

Installation view of Art Basel Miami Beach with Simone Subal Gallery, 2015.

Perfect Spectator and Sex Question, 2015. Inkjet print and UV printed mat board in aluminum frame. 21 x 14.5 inches.

Touched her hem, biting my own tail, 2015. Inkjet print and UV printed mat board in aluminum frame. 18 x 27 inches (46 x 68.5 cm).

Installation view of double-ended arrow, Simone Subal Gallery, New York, 2015.

double-ended arrow, Simone Subal Gallery, New York, 2015

Installation view of The vases my monitors their frames, Cura.Basement, Rome, 2014.

Installation view of From her come a gang and a run, Document, Chicago, 2013.

silver, steel, leather, oil, years, 2015. Wood, mat board, polyurethane foam, flashe paint, silver gelatin print, inkjet prints, linen tape, Plexiglas. 16 x 12 x 3 inches.

How to... (For Andrew Berardini), 2014. Inkjet print, laser print, and UV printed matboard in aluminum frame. 25 x 17.5 inches.

No eternity, only recognition of self delay, 2013. C-print, UV printed matboard and acrylic on metallic paper in Plexiglas frame. 22.5 x 16.5 x 1.25 inches.

Axiomatic, fingered and bent, 2014. Dye-sublimation print on aluminum, c-prints, found metal object, aluminum, acrylic ink, plexiglas frame.
22 x 34 x 2 1/4 inches. — Axiomatic, fingered and bent, 2014. Dye-sublimation print on aluminum, c-prints, found metal object, aluminum, acrylic ink, plexiglas frame. 22 x 34 x 2 1/4 inches.

B. Ingrid Olson was born in 1987 in Denver, Colorado. She currently lives and works in Chicago, Illinois. Recent solo and two-person exhibitions include: Carpenter Center for the Visual Arts at Harvard University, Cambridge (forthcoming, 2021); Simone Subal Gallery, New York (forthcoming, 2021); i8 Gallery, Reykjavík, Iceland (2019); Forehead and Brain, Albright-Knox Art Gallery, Buffalo NY (2018); Kiss the architect on the mouth, Simone Subal Gallery, New York (2018); B. Ingrid Olson & Robert Overby, Jessica Silverman Gallery, San Francisco (2018); KLEIN/OLSON, The Renaissance Society, Chicago (2017); double-ended arrow, Simone Subal Gallery, New York (2015); The vases my monitors their frames, cura.basement, Rome, (2014); and From her come a gang and a run, Document, Chicago (2014). Select group exhibitions include: Just Connect, The Museum of Contemporary Art, Chicago (2020); New Visions: Triennial for Photography and New Media, Henie Onstad Kunstsenter, Sandvika, Norway (2020); Being: New Photography, The Museum of Modern Art, New York (2018); Picture Fiction: Kenneth Josephson and Contemporary Photography, The Museum of Contemporary Art, Chicago (2018); Lost Without Your Rhythm, The Aspen Art Museum, Aspen (2018); Seeing Believing Having Holding, organized by Dan Byers, i8 Gallery, Reykjavik (2018); The problem with having a body / is that it always needs to be somewhere, The Approach, London (2017); and We seem to still be moving, Simone Subal Gallery, New York, NY (2013).