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1 .listen to a lecture in an art history class.
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2 .P: Today, I want to introduce the 20th century modern artist Joseph Albers, who left his mark both as an artist and an art educator.
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3 .Albers was born in Germany in 1888 and began his career teaching art at an elementary school.
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4 .That\'s not where he made his mark as an educator, though, we\'ll get to that later.
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5 .In his early 30s, Albers enrolled at the Bauhaus school of design, architecture and applied arts in Germany.
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6 .The Bauhaus school was special, famous for pioneering new ideas about beauty, function and design.
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7 .Some of Albers’ later ideas about art and art education owed a lot to the Bauhaus philosophy, which challenged traditional hierarchies of high art and low art.
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8 .For example, crafts and arts were treated as equals.
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9 .Carpentry classes were just as important as sculpture classes.
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10 .In fact, many Bauhaus professors and students did more than one thing, often developing a wide range of skills and talents.
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11 .So it\'s not surprising that Albers started out as a glass artist, painting on glass and making stained glass windows and collage pieces, and then later became a painter, photographer, furniture designer, graphic artist, educator and color theorist.
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12 .Let\'s fast forward to the 1930s.?
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13 .Albers and his wife, Annie, also an artist, moved to the United States and took teaching positions at Black Mountain College in North Carolina.
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14 .Black Mountain College, like the Bauhaus, was special.
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15 .Its faculty consisted mostly of artists, many of them famous or on their way to becoming famous.
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16 .The college provided Albers with the perfect setting to put his unconventional ideas about art education into practice.
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17 .Now their traditional art curriculum focuses on art history, teaching students to recognize works by famous artists and the styles and techniques that had emerged over the course of history.
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18 .Albers rejected this approach.
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19 .He wanted students to observe an artwork and simply experience it.
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20 .Background information, like style and historical information, was beside the point.
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21 .What mattered most was to truly see the work, to develop a heightened awareness of the elements that had gone into its composition, line, shape, texture, color, especially color.
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22 .In 1950, Albers moved to Yale University, where he continued to explore the impact of color.
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23 .He wrote a seminal book on color interactions and taught what was probably the first university level course dedicated exclusively to color.
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24 .By the way, he was also the first living artist to be given a retrospective exhibit at the net, the Metropolitan Museum of Art in New York City.
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25 .Normally, the net does not mount exhibitions featuring examples from an artist\'s entire body of work until after the artist\'s death.
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26 .But back to color, there\'s a long tradition of understanding color in scientific terms, starting with Isaac Newton, who discovered that colors are components of visible lights.
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27 .In this tradition, different color effects are explained as different physical properties of lights.
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28 .And when scientists began understanding exactly how human vision works, they came to realize that the eye doesn\'t perceive color directly.
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29 .It perceives different wavelengths of light.
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30 .So color theory, from a scientific viewpoint, is straightforward, objective, determined by physical laws.
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31 .Well, Joseph Albers would have none of that.
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32 .He viewed color not as a static, fixed thing determined by physics, but rather as a continually changing esthetic and artistic medium as a kind of living element, more optical illusion than physics, optical illusion the artist could experiment with.
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33 .Albers argued that color is always relative.
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34 .How we perceive a given color depends on its context, by the colors surrounding it.
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35 .So blue next to green appears very different from blue next to purple or brown.
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36 .This living, changing nature of color also acknowledges the emotional impact of color.
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37 .Different color combinations trigger changes in mood, in feelings.
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38 .And because there are endless ways to combine colors, the study of color is open ended, infinite.
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39 .Of course, the more you work with color, the better you can predict its behavior in a given context.
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40 .But for Albers, the world of color was too vast and complex to fit on any simple color chart.
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