New York

Sergej Jensen, Little Nazi Blush, 2018, acrylic on sequin fabric, 50 × 35".

Sergej Jensen, Little Nazi Blush, 2018, acrylic on sequin fabric, 50 × 35".

Sergej Jensen

Galerie Buchholz | New York

Like Broadway stars reduced to singing in two-bit saloons, sequins have suffered a fall from grace. Long before they became the provenance of prom queens, musicals on ice, and Las Vegas magicians, they occupied a loftier sphere of the fashion heavens. Tutankhamun sashayed into the afterlife fully spangled. Medieval merchants jangling along the canals of Venice called the precious metal trimming zecchino (“golden coin”), which became sequin in France. There, the tiny ornaments festooned tony waistcoats, opulent ball gowns, and delicate fans. In the United States, Jazz Age dance floors glinted with flappers flapping in dazzling gelatin disks.

The artist Sergej Jensen obliquely invoked this history and mined related lodes of personal adornment and material extravagance in his latest exhibition. Abstract acrylic paintings on sequined fabric—and sequined fabric on abstract acrylic paintings—comprised

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