This included four sequences: 'Corrupted by Showgirls'; Spill-Kit; Era of Heroes; and The Minimaus Poems - her response to Charles Olson's Maximus.
They noted, in particular, how the sequence picks up on 'film's reliance on close-ups of small, but telling, physical gestures for its most powerful emotional effects' (143).
The long alphabetical list of superheroes, 'perhaps reminiscent of the reading out of the names of the dead', which Olsen read to accompany the exhibition, Skoulding suggests,'quotes popular culture while drawing attention to the arbitrary construction of notions of heroism' (183).Olsen's work is discussed (alongside that of Barbara Guest and Veronica Forrest-Thomson) in Ella O'Keefe's 2019 PhD from Deakin University.
Film poems brought together 5 sequences: London Land Marks; A Newe Book of Copyes; Bucolic Picnic; The Lost Pool; and SPRIGS & spots.
More recently, she produced a text for film and live performance 'Judgement Action' (or 'Foil, Jumping, Daisies), which draws on research into Black Mountain College.
[8] Her most recent work is weather, whether radar: plume of the volants, published by ethical midge / electric crinolines in September 2021.
This substantial volume consists of series of visual and textual works that were produced, as a result of the DARE Prize, through conversations and collaborations with the BioDar research team at the University of Leeds, Opera North, and in association with the National Science and Media Museum and the Tetley Art Gallery.
It explores the possibilities of a poetic, creative-critical and visual engagement with the BioDar research team's rereading of weather-data collected by the UK's extensive weather radar network.
This aspect of the archive, which was regarded by the meteorologists as 'noise', has proved to be an invaluable record of insect diversity and abundance for the BioDar group.
[10] Her piece, fossil oil: a book of hours, is produced in a sewn hand-made, limited edition of twelve copies.
These intertextual poems offer a series of secular meditations for our fossil fuel era that are playfully disrupted by traces of other books, bodies, readers, and related found materials.
[11] A film of Olsen reading some sections from fossil oil is available on vimeo:https://vimeo.com/1020786106?from=outro-local Olsen's critical work also includes: 'Strategies of Critical Practice: Recent Writing on Experimental and Innovative Poetry by Women' (Signs, 33:2, Winter 2008, 373-87); 'Degrees of Liveness, Live and Electronic Subjects: Leslie Scalapino, Fiona Templeton and Carla Harryman', How2, I.6; 'Kites and Poses: Attitudinal Interfaces in Frank O'Hara and Grace Hartigan' in Robert Hampson and Will Montgomery (eds), Frank O'Hara Now (Liverpool University Press, 2010), 178-94; 'Field Recording as Writing: John Berger, Peter Gizzi and Julian Spahr in Will Montgomery and Stephen Benson (eds), Writing the Field Recording (Edinburgh, 2018) 167-86.
[12] For a number of years, she ran POLYply with Will Montgomery and Kristen Kreider, a cross-media and intermedia performance series, that incorporated poetry, art, music, and film.