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listen to a lecture in an art history class.

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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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Albers was born in Germany in 1888 and began his career teaching art at an elementary school.

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That\'s not where he made his mark as an educator, though, we\'ll get to that later.

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In his early 30s, Albers enrolled at the Bauhaus school of design, architecture and applied arts in Germany.

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The Bauhaus school was special, famous for pioneering new ideas about beauty, function and design.

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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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For example, crafts and arts were treated as equals.

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Carpentry classes were just as important as sculpture classes.

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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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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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Let\'s fast forward to the 1930s.?

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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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Black Mountain College, like the Bauhaus, was special.

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Its faculty consisted mostly of artists, many of them famous or on their way to becoming famous.

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The college provided Albers with the perfect setting to put his unconventional ideas about art education into practice.

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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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Albers rejected this approach.

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He wanted students to observe an artwork and simply experience it.

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Background information, like style and historical information, was beside the point.

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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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In 1950, Albers moved to Yale University, where he continued to explore the impact of color.

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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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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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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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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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In this tradition, different color effects are explained as different physical properties of lights.

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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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It perceives different wavelengths of light.

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So color theory, from a scientific viewpoint, is straightforward, objective, determined by physical laws.

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Well, Joseph Albers would have none of that.

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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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Albers argued that color is always relative.

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How we perceive a given color depends on its context, by the colors surrounding it.

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So blue next to green appears very different from blue next to purple or brown.

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This living, changing nature of color also acknowledges the emotional impact of color.

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Different color combinations trigger changes in mood, in feelings.

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And because there are endless ways to combine colors, the study of color is open ended, infinite.

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Of course, the more you work with color, the better you can predict its behavior in a given context.

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But for Albers, the world of color was too vast and complex to fit on any simple color chart.

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