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Journal articles on the topic 'Abstraction in art'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Gortais, Bernard. "Abstraction and art." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1241–49. http://dx.doi.org/10.1098/rstb.2003.1309.

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In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

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2

Annila, Arto. "The art of abstraction." Physics of Life Reviews 33 (July 2020): 119–20. http://dx.doi.org/10.1016/j.plrev.2019.11.008.

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3

Bomski, Franziska. "The Art of Abstraction." Figurationen 21, no. 2 (December 2, 2020): 41–56. http://dx.doi.org/10.7788/figu.2020.21.2.41.

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4

Sylvester, Christine. "Art, Abstraction, and International Relations." Millennium: Journal of International Studies 30, no. 3 (December 2001): 535–54. http://dx.doi.org/10.1177/03058298010300031101.

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5

Truett, Brandon. "Materialities of Abstraction." Twentieth-Century Literature 67, no. 2 (June 1, 2021): 191–214. http://dx.doi.org/10.1215/0041462x-9084341.

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This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.

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6

Stanowski, Mariusz. "Conceptual Art and Abstraction: Deconstructed Painting." Leonardo 53, no. 5 (October 2020): 485–91. http://dx.doi.org/10.1162/leon_a_01859.

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This article proposes a new conception of art and presents a form of painting that exemplifies that concept. Considering the developments in twentieth- and 21st-century art, the author notes that art created after the conceptual period has failed so far to take account of the profound transformation that occurred within it in the twentieth century. This change consisted in the identification of art with reality, achieved by incorporating into art all significant spheres/objects of reality. One result has been the dominance of referential art following the conceptualist period. Referential artworks are split into object and reference. This impedes untrammeled creativity, which would otherwise promote the integration of diverse formal elements. This article proposes painting that exemplifies such artistic creation.

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7

Yoshimoto, Hiroko. "Science and the Art of Abstraction." Boom 5, no. 3 (September 1, 2015): 46–55. http://dx.doi.org/10.1525/boom.2015.5.3.46.

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Seven oil paintings and watercolors from artist Hiroko Yoshimoto’s Biodiversity series. In a brief introductory essay, Ursula K. Heise notes that “Varied shapes call up the enormous range of biological forms, from a single cell seen through a microscope and the texture of a sea anemone to the complex shadings of tree foliage and flashes of birds’ wings.”

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8

Bayraktar, Alkan. "Geometric Abstraction Stages at Art Education." Procedia - Social and Behavioral Sciences 46 (2012): 1747–50. http://dx.doi.org/10.1016/j.sbspro.2012.05.371.

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9

Schwille, Petra. "Biology and the art of abstraction." Biophysical Reviews 9, no. 4 (July 29, 2017): 273–75. http://dx.doi.org/10.1007/s12551-017-0277-3.

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10

Lupacchini, Rossella. "Ways of Abstraction." Culture and Dialogue 4, no. 1 (July 22, 2016): 83–112. http://dx.doi.org/10.1163/24683949-12340005.

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The invention of “artificial perspective” revealed the ideal character of Euclidean geometry already in the Renaissance Europe of the fifteenth century. To the extent to which it made painting a “science” relying on mathematical rules, it made mathematics an “art” independent of the “geometry of nature.” It was the artistic vision emerging from perspective drawing that paved the way for scientific abstraction. However, it was only in the nineteenth century that the discovery of non-Euclidean geometry compelled mathematics to ponder the visual evidence of its principles and the reliability of its abstract concepts. At that time, it was the mathematical vision that first championed the rights of ideal forms to a higher level of abstraction and, therefore, oriented science and art towards new representational spaces.

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11

Alvarez, Mariola V. "Machine Bodies: Performing Abstraction and Brazilian Art." Arts 9, no. 1 (January 19, 2020): 11. http://dx.doi.org/10.3390/arts9010011.

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In 1973, Analívia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.

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12

Adajian, T. "Subjects and Objects: Art, Essentialism, and Abstraction." British Journal of Aesthetics 48, no. 3 (July 1, 2008): 356–57. http://dx.doi.org/10.1093/aesthj/ayn029.

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13

Moyle, Marilyn A., and Peter B. Moyle. "Fish imagery in art 32: Graham'sBlue Abstraction." Environmental Biology of Fishes 35, no. 3 (November 1992): 310. http://dx.doi.org/10.1007/bf00001898.

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14

Marter, Joan. "The Ascendancy of Abstraction for Public Art." Art Journal 53, no. 4 (December 1994): 28–36. http://dx.doi.org/10.1080/00043249.1994.10791657.

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15

Zimmer, Robert. "Abstraction in art with implications for perception." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1285–91. http://dx.doi.org/10.1098/rstb.2003.1307.

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The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both a culture's ways of perceiving the world and its ways of remaking the world it perceives. The purpose of this paper is to indicate ways in which a study of abstraction in art can be used to discover insights into, to quote the call for papers for this issue, ‘our perception of the world, acquired through experience’ and ‘the way concepts are formed and manipulated to achieve goals’.

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16

Katz, M., and C. Domshlak. "Implicit Abstraction Heuristics." Journal of Artificial Intelligence Research 39 (September 21, 2010): 51–126. http://dx.doi.org/10.1613/jair.3063.

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State-space search with explicit abstraction heuristics is at the state of the art of cost-optimal planning. These heuristics are inherently limited, nonetheless, because the size of the abstract space must be bounded by some, even if a very large, constant. Targeting this shortcoming, we introduce the notion of (additive) implicit abstractions, in which the planning task is abstracted by instances of tractable fragments of optimal planning. We then introduce a concrete setting of this framework, called fork-decomposition, that is based on two novel fragments of tractable cost-optimal planning. The induced admissible heuristics are then studied formally and empirically. This study testifies for the accuracy of the fork decomposition heuristics, yet our empirical evaluation also stresses the tradeoff between their accuracy and the runtime complexity of computing them. Indeed, some of the power of the explicit abstraction heuristics comes from precomputing the heuristic function offline and then determining h(s) for each evaluated state s by a very fast lookup in a ``database.'' By contrast, while fork-decomposition heuristics can be calculated in polynomial time, computing them is far from being fast. To address this problem, we show that the time-per-node complexity bottleneck of the fork-decomposition heuristics can be successfully overcome. We demonstrate that an equivalent of the explicit abstraction notion of a ``database'' exists for the fork-decomposition abstractions as well, despite their exponential-size abstract spaces. We then verify empirically that heuristic search with the ``databased" fork-decomposition heuristics favorably competes with the state of the art of cost-optimal planning.

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17

Hodson, Elizabeth A. "Prisms of the abstract: Material relations in Icelandic art." Journal of Material Culture 22, no. 1 (November 30, 2016): 72–92. http://dx.doi.org/10.1177/1359183516679185.

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This article seeks to re-imagine the concept of abstraction as a material mechanism for art-making. Abstraction is traditionally divorced from the discipline of anthropology, which is rooted in social context and descriptive particulars. Within this debate, abstraction, as a mental capacity, is contrasted with contextual understanding and entails a removal from the life of the people studied. But, for the artist, this conclusion may be premature and abstraction is more accurately regarded as a constitutive function of art-making. The author draws explicitly on this proposition and proposes that abstraction affords artists a material means of transforming how they relate and re-imagine the world, offering them a means of separating the properties of things from the things themselves. Integral to these affordances is abstraction as an art historical construct. Thus abstraction is not the erasure of context, whether conceptual or material, but its imbrication. To illuminate this proposition, this article focuses on the working practice of one Icelandic artist, through which the author suggests that abstraction can be envisaged as a prism of open connections that lead from the artist into the world.

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18

Seipp, Jendrik, and Malte Helmert. "Counterexample-Guided Cartesian Abstraction Refinement for Classical Planning." Journal of Artificial Intelligence Research 62 (July 25, 2018): 535–77. http://dx.doi.org/10.1613/jair.1.11217.

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Counterexample-guided abstraction refinement (CEGAR) is a method for incrementally computing abstractions of transition systems. We propose a CEGAR algorithm for computing abstraction heuristics for optimal classical planning. Starting from a coarse abstraction of the planning task, we iteratively compute an optimal abstract solution, check if and why it fails for the concrete planning task and refine the abstraction so that the same failure cannot occur in future iterations. A key ingredient of our approach is a novel class of abstractions for classical planning tasks that admits efficient and very fine-grained refinement. Since a single abstraction usually cannot capture enough details of the planning task, we also introduce two methods for producing diverse sets of heuristics within this framework, one based on goal atoms, the other based on landmarks. In order to sum their heuristic estimates admissibly we introduce a new cost partitioning algorithm called saturated cost partitioning. We show that the resulting heuristics outperform other state-of-the-art abstraction heuristics in many benchmark domains.

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19

Watson, Ruth. "Cartographic Abstraction in Contemporary Art: Seeing with Maps." Cartographic Journal 55, no. 1 (January 2, 2018): 102–3. http://dx.doi.org/10.1080/00087041.2018.1483601.

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20

Tierney, Therese. "Formulating Abstraction: Conceptual Art and the Architectural Object." Leonardo 40, no. 1 (February 2007): 51–57. http://dx.doi.org/10.1162/leon.2007.40.1.51.

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Digital techniques, primarily software appropriated from the entertainment and industrial design sectors, have destabilized the essential status of the architectural image-object formulated in classical philosophical thought. Western European art experienced a similar crisis when conceptual art movements of the 1960s challenged Clement Greenberg's notion of medium specificity. The author examines work by conceptual artists whose theories posit alternative views of spatial and social relations based on open-ended systems and indeterminacy. An examination of the relationship between materiality and abstraction as exemplified in new media's reformulation of architectural design processes indicates how a more inclusive and mutable profession has been realized.

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21

Chunghoon, Shin. "Abstract Art · Technology · Life: Han Mook’s Vitalist Abstraction." Journal of Korean Modern & Contemporary Art History 37 (July 31, 2019): 301–25. http://dx.doi.org/10.46834/jkmcah.2019.07.37.301.

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22

Sklar, Jessica K. "Math, Art, Abstraction: A Conversation with Bronna Butler." Math Horizons 28, no. 3 (February 19, 2021): 8–11. http://dx.doi.org/10.1080/10724117.2020.1849525.

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23

Burov, Andrey Mikhailovich. "The Line in Neo-Modernism Geometrical Abstraction." Journal of Flm Arts and Film Studies 3, no. 3 (September 15, 2011): 54–63. http://dx.doi.org/10.17816/vgik3354-63.

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The article overviews the development of the line as a pictorial element in Neo-Modernism. It refers to different variants of linear strategy in geometric abstractions and the tendency of the line to become the leading element of the work of art up to pure linear constructions, such as a two-or three- dimensional grid. This grid is the key structure of the new forms of modern art built on repetition.

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24

Long, Rose-Carol Washton. "Occultism, Anarchism, and Abstraction: Kandinsky's Art of the Future." Art Journal 46, no. 1 (1987): 38. http://dx.doi.org/10.2307/776841.

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25

Long, Rose-Carol Washton. "Occultism, Anarchism, and Abstraction: Kandinsky's Art of the Future." Art Journal 46, no. 1 (March 1987): 38–45. http://dx.doi.org/10.1080/00043249.1987.10792337.

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26

Wong, Janay Jadine. "Synagogue Art of the 1950s: A New Context for Abstraction." Art Journal 53, no. 4 (1994): 37. http://dx.doi.org/10.2307/777559.

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27

Crouch, David, and Mark Toogood. "Everyday abstraction: geographical knowledge in the art of Peter Lanyon." Ecumene 6, no. 1 (January 1999): 72–89. http://dx.doi.org/10.1177/096746089900600104.

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28

Crouch, D., and M. Toogood. "Everyday abstraction: geographical knowledge in the art of Peter Lanyon." Ecumene 6, no. 1 (January 1, 1999): 72–89. http://dx.doi.org/10.1191/096746099701556042.

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29

Durkin, Celia, Eileen Hartnett, Daphna Shohamy, and Eric R. Kandel. "An objective evaluation of the beholder’s response to abstract and figurative art based on construal level theory." Proceedings of the National Academy of Sciences 117, no. 33 (August 3, 2020): 19809–15. http://dx.doi.org/10.1073/pnas.2001772117.

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Does abstract art evoke a different cognitive state than figurative art? To address this question empirically, we bridged art theory and cognitive research and designed an experiment leveraging construal level theory (CLT). CLT is based on experimental data showing that psychologically distant events (i.e., occurring farther away in space or time) are represented more abstractly than closer events. We measured construal level elicited by abstract vs. representational art and asked subjects to assign abstract/representational paintings by the same artist to a situation that was temporally/spatially near or distant. Across three experiments, we found that abstract paintings were assigned to the distant situation significantly more often than representational paintings, indicating that abstract art was evocative of greater psychological distance. Our data demonstrate that different levels of artistic abstraction evoke different levels of mental abstraction and suggest that CLT provides an empirical approach to the analysis of cognitive states evoked by different levels of artistic abstraction.

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30

Amor, Monica. "Displaced Boundaries: Geometric Abstraction from Pictures to Objects." ARTMargins 3, no. 2 (June 2014): 101–17. http://dx.doi.org/10.1162/artm_r_00083.

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This review concerns Osbel Suarez, Cold America: Geometric Abstraction in Latin America (1934–1973), an exhibition presented by the Fundación Juan March in Madrid, Feb 11–May 15, 2011 and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970] (Buenos Aires: Universidad Nacional de Quilmes, 2011). The review briefly assesses the state of the literature on Latin American Geometric Abstractio and analyzes these two publications from 2011, which stand precisely for traditional approaches and new developments in the field.

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31

Mayorga Madrigal, Alberto Cuauthémoc. "Vínculos entre el arte y el acto moral. Una revisión de las nociones de lo bueno y lo bello en Kant." Sincronía XXV, no. 79 (January 3, 2021): 123–33. http://dx.doi.org/10.32870/sincronia.axxv.n79.6a21.

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Censorship of art implies the connection between Ethics and Aesthethics: different kind of valuations and orientations in artistic work, such as censorship as well as compliment, enlightens usual phenomena concerning autonomy, valuation, volition, abstraction and assimilation conditions of it. Therefore, our aim is to explore some fundamental Kantian features between morals and arts concerning the judgment, as well as its results (i.e. piece of art and moral act).

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32

Yavuz, Ezgi. "Tracing a Conceptual Relationship: Abstraction in Modern Architecture and Modern Art." International Journal of Arts Theory and History 10, no. 2 (2015): 1–18. http://dx.doi.org/10.18848/2326-9952/cgp/v10i02/36275.

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33

Oganov, Arnold A. "Wassily Kandinsky: the Experience of Reflections on the Art of Abstraction." Observatory of Culture 14, no. 1 (January 1, 2017): 54–60. http://dx.doi.org/10.25281/2072-3156-2017-14-1-54-60.

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34

Morgan, David. "The Rise and Fall of Abstraction in Eighteenth-Century Art Theory." Eighteenth-Century Studies 27, no. 3 (1994): 449. http://dx.doi.org/10.2307/2739364.

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35

Pickstone, Charles. "A theology of abstraction: Wassily Kandinsky’s ‘Concerning the Spiritual in Art’." Theology 114, no. 1 (January 2011): 32–41. http://dx.doi.org/10.1177/0040571x10387346.

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36

Fuentes, Edward. "The abstraction of content and intent between murals and street art." Visual Inquiry 7, no. 1 (March 1, 2018): 9–17. http://dx.doi.org/10.1386/vi.7.1.9_1.

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37

Achiron, Reuwen. "The art of ultrasound in obstetrics: from abstraction to hyper-realism." Ultrasound in Obstetrics and Gynecology 6, no. 1 (July 1, 1995): 1–3. http://dx.doi.org/10.1046/j.1469-0705.1995.06010001.x.

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38

Toscano, Alberto. "The Sensuous Religion of the Multitude: Art and Abstraction in Negri." Third Text 23, no. 4 (July 2009): 369–82. http://dx.doi.org/10.1080/09528820903007651.

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39

DeMarrais, Elizabeth. "Animacy, Abstraction, and Affect in the Andean Past: Toward a Relational Approach to Art." Cambridge Archaeological Journal 27, no. 4 (October 23, 2017): 655–69. http://dx.doi.org/10.1017/s0959774317000671.

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In this article, I set out a relational approach to Andean art, with the aim of investigating, in broad terms, the making, viewing and experience of art among pre-Hispanic peoples. The analysis draws upon the ideas of art historians, as well as upon the work of ethnographers and archaeologists, to integrate theoretical approaches that consider animacy and the ways art objects gain significance as part of assemblages. Examining four aspects of Andean art: (1) insistence; (2) abstraction; (3) networks and linkages; and (4) affect and embodied experience, I conclude that the term ‘art’ (as an analytic category) overlaps poorly with Andean categories of cognition, sociality and material practice. Archaeologists can usefully refocus attention on the ways these craft items were made, used in daily life, displayed in rituals and ultimately deposited in the places where they were found.

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40

Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (September 1, 2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.

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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction as an aesthetic death drive. But because Freud argues that art is fundamentally pleasurable and rooted in mimetic representation, his own aesthetics remains insistently Aristotelian. By rejecting an Aristotelian paradigm, Worringer provides a modernist aesthetic theory of the death drive that Freud himself was never able to envision.

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41

Hodgson, Derek. "Graphic Primitives and the Embedded Figure in 20th-Century Art: Insights from Neuroscience, Ethology and Perception." Leonardo 38, no. 1 (February 2005): 55–58. http://dx.doi.org/10.1162/leon.2005.38.1.55.

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Recent investigations into both cognitive science and the functional derivation of the visual brain as well as evolutionary dynamics have led to new and exciting ways of interpreting art. Abstract art has often been regarded as beyond the purview of such interpretations because of the very fact that it is abstract. However, as a visually guided activity, abstraction is eminently suited to an analysis from this perspective. This essay will demonstrate how such an approach can reap rich rewards in the understanding of why and how art came to progress from an earlier representational phase to one of abstraction by examining some of the 20th century's most influential trends.

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42

Anker, Suzanne. "Gene Culture: Molecular Metaphor in Visual Art." Leonardo 33, no. 5 (October 2000): 371–75. http://dx.doi.org/10.1162/002409400552856.

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This paper addresses visual art's relationship to genetics and its attendant metaphorical representation. By diagramming models of the ways in which DNA is visualized and comprehended as a system of signs, parallel conceptions between art history's engagement with abstraction, recontextualization, and duplication is compared to genetic process and laboratory experimentation.

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43

Edmundson, William A. "STATE OF THE ART:." Legal Theory 10, no. 4 (December 2004): 215–59. http://dx.doi.org/10.1017/s1352325204040236.

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Philosophy, despite its typical attitude of detachment and abstraction, has for most of its long history been engaged with the practical and mundane-seeming question of whether there is a duty to obey the law. As Matthew Kramer has recently summarized: “For centuries, political and legal theorists have pondered whether each person is under a general obligation of obedience to the legal norms of the society wherein he or she lives. The obligation at issue in those theorists' discussions is usually taken to be prima-facie, comprehensively applicable, universally borne, and content-independent.” This essay is a commentary on the current state of discussion of this perennial philosophical topic.

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44

Auther, E. "The Decorative, Abstraction, and the Hierarchy of Art and Craft in the Art Criticism of Clement Greenberg." Oxford Art Journal 27, no. 3 (March 1, 2004): 339–64. http://dx.doi.org/10.1093/oaj/27.3.339.

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45

Halaby, Samia. "The Political Basis of Abstraction in the 20th Century As Explored by a Painter." Manazir Journal 1 (October 1, 2019): 94–110. http://dx.doi.org/10.36950/manazir.2019.1.1.7.

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The political nature of abstraction presented from an artist’s point of view – one who considers the most advanced task is the exploration of the language of pictures. Such exploration is understood as a separate discipline from the many others that employ pictures for practical functions. The author examines the development of 20th century abstraction as an effect of revolutionary social motion. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion. The materialist underpinning of abstraction is distinguished from the idealism of Post-Modernism. The paper ends with an examination of contemporary discourse in the Western art world that attempts to erase the internationalism of abstraction and, thereby, marginalize non-Western practitioners.

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46

Zarkasi, Sofwan, and Bening Tri Suwasono. "PENCIPTAAN KARYA SENI RUPA ABSTRAKSI WAJAH TOGOG DAN TOPENG BUJANG GANONG DENGAN TEKNIK CBT (CETAK BENANG TARIK)." Acintya Jurnal Penelitian Seni Budaya 11, no. 2 (March 13, 2020): 139–50. http://dx.doi.org/10.33153/acy.v11i2.2756.

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ABSTRACT”Penciptaan Karya Seni Rupa Abstraksi Wajah Togog Dan Topeng Bujang Ganong Dengan Teknik CBT (Cetak Benang Tarik)”( The Creation Of Abstraction Artworks Of Togog’s Face And The Mask Of Bujang Ganong With CBT (Print Thread) Technique) by Sofwan Zarkasi and Bening Tri Suwasono is based on the opportunities related to creativity and experimentation in two-dimensional works of art that utilize systems or techniques of creation in graphic arts, which have two-dimensional print art characters. One of them is creating mono print graphic artwork with a print process that utilizes tensile threads, namely threads that are colored and printed on paper and pulled with a little pressure. This research aims to open wide opportunities for creativity in two-dimensional works of art. The method applied in the creation of works in this study is using the theoretical approach of L. Chapman, which mentions three stages. The first stage is finding ideas by approaching the source of inspiration; the second stage includes refinement, development and establishment of the initial idea, including how the artist perfects, develops and establishes the initial idea which in this case relates to the search of forms, the choice of medium, tools, materials, and techniques; and the third stage, visualization into media, namely how artists visualize in the media. Indirectly the theory also put forward the experimentation, which in this study is the technique of Tensile Print (CBT) which produces the image prints in the form of lines that form the visual subject of Togog’s face and Bujang Ganong’s face mask in two-dimensional media. The results of this aristic research are two-dimensional works of art in the form of abstractions of Bujang Ganong masks with the characteristics of printed characters from the attraction of colored threads.From the creation of abstraction artworks of Togog’s face and the mask of Bujang Ganong with CBT (Print Thread) technique, this two-dimensional art works with the traditional dimensions is expected to be rich of innovation, both in technique and form, so that it can raise the prestige of the arts.Keywords: Fine Arts, two dimensions, abstraction, puppets, CBT.

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