Looking Forward/Looking Back: Lloyd Cotsen

September 17, 2012 0 Comment

Baskets by Deborah Valoma, Hisako Sekijima, Gyöngy Laky
photos by Tom Grotta, courtesy of browngrotta arts

In 2008 internationally known collector Lloyd Cotsen donated 151 contemporary basketworks to the Racine Art Museum in Wisconsin. When added to the nearly 300 contemporary basket works already in the museum’s collection, the result was one of the largest concentrations of fiber sculpture in any US art institution. The excerpt below is from an essay/interview included in the study guide, Basketworks: Cotsen Contemporary American Basket Collection, available from RAM. http://www.ramart.org/. The interviewer is Bruce Pepich, Executive Director and Curator of Collections, RAM:

Pepich: The majority of the artists in this collection are American women. So this was intentional?

Baskets by Mary Giles, Dorothy Gill Barnes, Christine Joy
photos by Tom Grotta, courtesy of browngrotta arts

Cotsen: Yes. The acquisition of women artists’ work was an intentional statement on my part. In Japan, most of the basket makers are men, but when I looked at what was going on in the United States, I noticed that the majority of the artists advancing the field at this time were women. I found a great deal of experimentation that was moving contemporary basketry — and the fibers field in general — in many new directions. There are a few men and also some British and Japanese women artists who are included in this group because they actively participated in the American basketry movement as teachers and exhibiting artists. However, the great majority are American women.

Baskets by Mary Merkel-Hess, Maggie Henton and Nancy Moore Bess
photos by Tom Grotta, courtesy of browngrotta arts

I am most frequently drawn to what the women basket artists see in the materials they employ and the forms they create. These artists seem to have an innate closeness to the earth; it interests me to see how they express that through their work in fibers. Historically, women carried baskets as storage containers or created other textile forms; contemporary basket artists share a connection with their predecessors in the understanding they have for basket materials and forms. I think contemporary works are more interesting than classic American folk baskets. I did not want to have the pieces in this collection mistaken as purely functional, but viewed as innovative sculptural statements. Functionality is not important to me; it can be a limitation. I am interested in aesthetic and shape.

When I first started collecting, there were few people systematically assembling contemporary basket collections. I wanted to encourage the development of these artists’ aesthetic concepts by acquiring their works.

Marion Hildebrandt; Naomi Kobayashi; Chungi Choo
photos by Tom Grotta, courtesy of browngrotta arts

Basketmakers in the The Cotsen Contemporary American Basket Collection: Dona Anderson;* Joan Austin; Michael Bailot; Dorothy Gill Barnes;* Patricia Barrett; Dail Behennah;* Nancy Moore Bess;* Linda Bills; Delores L. Boyer; Joann Segal Brandford; Nancy Braski; Brent Brown; Jan Buckman; Chunghi Choo; Jill Nordfors Clark; Akemi Daniells; Dane Dent; Rob Dobson; Jean and Rob Doubert; Jeanne Drevas; Lillian Elliott/Pat Hickman; Norma Anderson Fox; Therese Neptune Gardiner; John Garrett; Lindsay Ketterer Gates; Mary Giles;* Maggie Henton; Marion Hildebrandt; Patti Q. Hill; Kazue Honma;*Flo Hoppe; Christine Joy*; Tamiko Kawata*; Jane Kerseg-Hinson; Susan W. Kilmer; Naomi Kobayashi;* Gyöngy Laky;* Shereen LaPlantz; Kari Lonning; Elaine Lucero; Mika McCann; Connie/Tom McColley; John McQueen;* Merkel-Hess;* Doris Messick; Sally Metcalf; Norma Minkowitz;* Diane Moore; Debora Muhl; Judy Mulford;* Dulese Myers; Dennis Nahabetian; Leon Niehaus; Jane Niejadlik; Linda Kelly Osborne; Francina Kraynek Prince; Emily Borden Ragsdale; Lois S. Rainwater; Fran Reed; Jill Romanoke; Ed Rossbach*; JoAnne Russo; Betz Salmont; Hisako Sekijima;* Corey Shenkin; Karyl Sisson;* Thurmond Strickland; Billie Ruth Sudduth; Polly Adams Sutton; Ema Tanigaki; Deborah Valoma*; Don Weeke; Jiro Yonezawa.* An asterisk indentifies artists whose work will be included in Retro/Prospective: 25+ Years of  Art Textiles and Sculpture at browngrotta arts this fall.

Dispatches: Swans Island, Northport, Maine

September 12, 2012 0 Comment

photo by Tom Grotta

We vacationed in Maine last month and included one fiber-related stop in our itinerary.  Just up Route 1 from Camden is the headquarters of Swans Island Blankets. Twenty years ago, John and Carolyn Grace moved to Swans Island, off the Maine coast, to make blankets from the wool of hardy island sheep.

photo by Tom Grotta

The new setting (since 2003) in Northport is idyllic, the sheep there are welcoming and the beautiful handwoven summer- and winter-weight blankets and scarves are artfully displayed. Swans Island is a recipient of a Smithsonian Blue Ribbon for Craft. The wool is hand dyed, using only natural materials; all weaving and finishing is completed on site — though most of the sheep remain on the Island.

photo by Tom Grotta

The rare wool and equinox blankets are made from wool of naturally brown and black sheep. The blankets, throws and scarves are trimmed in silk. You can view the works online http://www.swansislandblankets.com/— and don’t miss an opportunity to visit.

Looking Forward/Looking Back: Dona Anderson

September 10, 2012 0 Comment

20da Re-Tire, Dona Anderson, tire chain, netting and window screen, 8.5″ € x 16.25″ €x 14.5″ , 2011

“Wow, 25 years in the art business is pretty remarkable. Not only that—it’s successful. One of the challenges I enjoyed (among many) was your request for work for Stimulus: art and its inception. Finding my “Stimulus” was fun for me. Walking through my neighborhood everyday, I took care to find that special something that appealed to my imagination. When I saw a rusty piece of metal wire tweaking out from a pile of dirt, my heart soared with possibilities. No one even knew what it had been until I cleaned it—a tire chain I turned into a basket. This is only one of the many opportunities you have provided for your artists over the years. I am grateful for all of them — including your encouragement, enthusiasm and innovative marketing experience!”
Dona Anderson
September 2012

Save the Date: Retro/Prospective: 25+ Years of Art Textiles and Sculpture this October

September 7, 2012 0 Comment

Helena Hernmarck, Jo Barker and Kiyomi Iwata are three of the artists participating Retro/Prospective 25+ Years of Art Textiles, photo by Tom Grotta

This fall we will present a catalog exhibition, Retro/Prospective: 25+ Years of Art Textiles and Sculpture in Wilton, Connecticut from October 26th to November 4th to commemorate browngrotta arts’ 25 years promoting international contemporary art. The comprehensive exhibition will look at the past and future of the art textile movement, and as always, include related works in ceramics and wood and mixed media. There will be works in the exhibition by pioneers of the contemporary textile art and sculpture movement and there will be current work by established and emerging artists, to explain where the movement is now and provide a sense of what’s ahead.

Retro/Prospective: 25+ Years of Art Textiles, work by John McQueen, Sue Lawty
photo by Tom Grotta

The artworks selected by browngrotta arts for Retro/Prospective: 25+ Years of Art Textiles and Sculpture express a powerful sensibility. John McQueen was persuaded to take the dramatic sculpture, Centered, begun in 2007, from his personal collection and place it on display. Naoko Serino’s ethereal Generating 12 is from her most current body of work. Sue Lawty’s Calculus is a contemplation made of thousands of tiny stones, from a series she began as artist in residence at the V&A, While Chris Drury’s Roussillon I, takes viewers on a visual adventure by combining rubbed ochre on paper and a woven map.

The artists in Retro/Prospective: 25+ Years of Art Textiles and Sculpture come from a wide range of countries and art  backgrounds. They utilize diverse materials and techniques. Some, like Lia Cook and Gyöngy Laky from the US, are mid-career artists who have achieved international recognition. Others, like Laura Thomas of the UK, Jennifer Falck Linssen of the US and recent graduate Stéphanie Jacques of Belgium, are emerging talents. The work of others, like Chang Yeonsoon, 2008 Artist of the Year at the National Museum of Contemporary Art in Seoul, Korea and Grethe Sorensen of Denmark, has been celebrated abroad, but only rarely shown in the United States. The exhibition will also include artists whose work complements our art textile emphasis, including sculptor Lawrence LaBianca and ceramicist Yasuhisa Kohyama.

GENERATING 12 by Naoko Serino, photo by Tom Grotta


The Artists Reception and Opening for Retro/Prospective: 25+ Years of Art Textiles and Sculpture will be held Saturday, October 27, 2012 from 1:00 to 5:00 p.m. at browngrotta arts, 276 Ridgefield Road, Wilton, Connecticut. From October 28th through November 4th, the exhibition will be open from 10:00 a.m. to 5 p.m. For more information, call 203-834-0623; email: art@browngrotta.com or visit browngrotta.com. A catalog will accompany the exhibit and be available after the opening.

Looking Forward/Looking Back: Sherman F. Lee

September 3, 2012 0 Comment

Details of Adela Akers 1988 Midnight and 2011 Triptych. Adela is one of the artists who was included in the 1977 Fiberworks exhibition at the Cleveland Museum of Art. Her work will be included in Retro/Prospective: 25+ Years of Art Textiles and Sculpture this fall at browngrotta arts.

“The 20th century has been a period of numerous experiments in the arts based on new concepts, materials and techniques which have proliferated as never before in history. Some of these new developments, however, have been only fashionable and have been inappropriate exploitations of materials or techniques for very vague and general ideas. Among the exceptions to these trends, enjoying widespread and lasting success, has been the use of fibrous materials to create aesthetic equivalents of sculptures and paintings.

Adela Akers 1960 portrait. Photo Archives of American Art, aaa.si.edu. Courtesy of the artist.

New tools, techniques and synthetic fibers have fired artists’ imaginations. The variety of effects possible range from the predominantly decorative to the highly expressive. And unlike some other recent developments in the arts, contemporary fiber works rest firmly on long and substantial traditions from all major cultures. Although many new and significant forms have already appeared, the future seems to offer even further possiibiities for the growth of this art.”
Sherman F. Lee, then-Director
Cleveland Museum of Art 1977
from the Forward for Fiberworks catalog, The Cleveland Museum of Art, 1977

Exhibitions Abroad: On and Upcoming

August 31, 2012 0 Comment

West Sweden
100 Beginnings
Through September 9th
Dalslands Konstmuseum

 

Dail Behennah installation Dalslands Konstmuseum

One Hundred Beginnings detail

The installation features Dail Behennah and highlights 100 ways of starting a basket, some works made of copper wire and some enamel.  Thicket, for example, is a three-dimensional drawings of twigs, made of iron wire. Dalslands Konstmuseum, Upperud 46440, Åsensbruk, Sweden. For information: phone +46530-30098; website: http://www.dalslandskonstmuseum.se.

 

Scotland
Weaving The Century: Tapestry from Dovecot Studios 1912-2012
Through October 7th
Dovecot Studios

Weaving The Century: Tapestry from Dovecot Studios 1912-2012 is the first major exhibition of tapestry in Scotland in more than 20 years. Curated by Elizabeth Cumming, the exhibition features more than 60 tapestries, rugs and designs spanning 100 years of Dovecot history including iconic and rarely seen works.The works in the exhibition represent the broad range of visual styles and technical weaving styles. In its 100 years, Dovecot Studios have collaborated with dozens of leading contemporary international artists including David Hockney, Paul Gauguin, Elizabeth Blackadder, Sir Peter Blake, Edward Wadsworth, Cecil Beaton, Graham Sutherland, Louise Nevelson and Claire Barclay.  Dovecot Studios, 10 Infirmary Street, Edinburgh, Scotland. For information: phone: +44 (0)131 550 3660; website: http://www.dovecotstudios.com.

Wales
Michael Brennand-Wood: Forever Changes
Opens September 22nd; ends November 25th
Ruthin Craft Center

 

Forever Changes is an exhibition documenting Michael Brennand-Wood’s practice over 40 years. Forever Changes will feature many previously unseen, new and important works with the emphasis very firmly on the ideas behind each piece. The exhibition will include installation, sculptural, relief, studio and commission works. It will be accompanied by a 200-page illustrate book that will present a biography of the work, exhibitions, events, places and concepts that have shaped Brennand-Wood’s practice. Ruthin Craft Center, Lon Parcwr, Ruthin LL15 1 BB, Denbigshire, North Wales, United Kingdom. For information: phone: 01824 704774; website: http://www.ruthincraftcentre.org.uk/comingsoon.html.

Canada
Anthropomorphism
Through October 2012
Musée des Beaux-arts de Montréal, Lilane and David M. Stewart Pavilion

INVADERS by Norma Minkowitz, photo by Bobby Hansson 1991

Norma Minkowitz’s work, Invaders is one of the works included in a themed grouping on anthropomorphism in a permanent decorative arts and design gallery at the Musée des Beaux-arts de Montréal. Also included are works by Niki de Saint Phalle, Gaetano Pesce and Pablo Picasso. Musée des Beaux-arts de Montréal,1380 Crescent Street, Montreal, Quebec, Canada; (514) 285-1600; website: www.mbam.qc.ca.

Process Notes: Permanence and Impermanence in Public Art – Randy Walker

August 18, 2012 0 Comment

Randy Walker, Conceptual Rendering for
Filling the Void

In March 2012, Randy Walker was the first grantee of the McKnight Project, which is funded by the McKnight Foundation and Forecast Public Art. The McKnight Project grant of $50,000 supports the creation of publicly accessible temporary or permanent artwork in Minnesota by a Minnesota-based mid-career public artist. Projects may be in any form or discipline, including performance, dance, storytelling, photography, film, sculpture, painting, etc. http://forecastpublicart.org/grants-mcknightproj.php.

Randy Walker, Conceptual Rendering for
Filling the Void

Walker, in partnership with YouthLink, a drop-in center for homeless youth, is installing a public art sculpture, Filling the Void, that the grant website describes as “a way finder and creative outlet” for the Kulture Klub Collaborative (KKC) http://www.kultureklub.org/about.html. KKC is an independent arts organization that brings together artists and homeless youth in the Twin Cities through multi-disciplinary workshops, open mics, cultural presentations and art outings. Walker’s project, Filling the Void, will consist of a permanent steel framework, a three-dimensional grid, that will act as a loom for a series of temporary fiber installations to be completed collaboratively by Walker and kids from YouthLink. After these initial installations, the framework will be programmed by KKC.  Future artists-in-residence will decide, together with the young people involved in the program, how, and in what media, the framework should be used.

Randy Walker, Conceptual Rendering for
Filling the Void 

“Filling the Void will be an exploration of permanence and impermanence in public art through a collaborative process,” says Walker. “As an artist who works with both durable, long-term materials and more temporal fibrous materials, I will investigate how a work of public art might bridge the gap between the ephermeral installation and a traditionally static, unchanging sculpture.  I believe there is a fertile middle ground, where a work of public art might be regenerated, renewed, and recreated periodically in different ways, by different community members, and even different artists,” he adds. “I am interested in how the ‘minimal routine maintenance’ so often invoked in the commissioning of public art might be an opportunity to celebrate a work of art, re-engaging it in the future, rather than the mere preservation of the object.”

Randy Walker, Conceptual Rendering for
Filling the Void

It is Walker’s hope that the sculpture will be a permanent framework upon which ever-changing installations will take place, in the same way YouthLink is a permanent fixture for the ever-changing homeless population it serves.  “It is a visible, public space that will be claimed and defined by a vibrant and creative population that lacks a space of their own,” Walker says.

Randy Walker, Conceptual Rendering for
Filling the Void

The images here are conceptual renderings, showing several possibilities for fiber installations, and potential ways the framework might be engaged using non-fiber media. They also provide insight into a piece of the grant application process, the importance of designing a presentation that enables decision makers to share the artist’s vision.

Randy Walker, Conceptual Rendering for
Filling the Void

Coast to Coast — Exhibitions Around the US

August 7, 2012 0 Comment

Here’s a round up of exhibitions throughout the US that are worth traveling to see.  They are listed in date order — a few of them close this month or next; others are open through the fall.

Philadelphia, Pennsylvania
Craft Spoken Here
Last Week – through August 12th

Artists in the exhibit include: clockwise; WATERFALL by Lenore Tawney; SPIRALS AND PATHS by Rebecca Medel; CERAMIC 42 by Yasuhisa Kohyama; BODY LANGUAGE by John McQueen; SEASIDE by Krystyna Wojtyna-Drouet; RAY by Mary Merkel-Hess

With Craft Spoken Here, curated by Elisabeth Agro, the Nancy M. McNeil Associate Curator of American Modern and Contemporary Crafts and Decorative Arts, the Philadelphia Museum of Art seizes the opportunity to experiment with its craft collection and to understand craft in an international context. Some 40 contemporary works from 1960 to the present in ceramic, glass, metal, wood, lacquer, paper and fiber—some by living, acclaimed artists, including Lenore Tawney, Rebecca Medel, Yasuhisa Kohyama, John McQueen,  Krystyna Wojtyna-Drouet, and Mary Merkel-Hess and others by lesser-known creators—are on view. Representing the Americas, Africa, Asia and Europe, the works highlight formal qualities that cross cultures, time, and media. Hear Agro describe the evolution of the exhibition and the installation of Tawney’s Fountain of Water and Word, in a podcast at the art blog.

Philadelphia Museum of Art
Perelman Building
2525 Pennsylvania Ave
Philadelphia, PA 19130
phone 215.763.8100
www.philamuseum.org

Myrtle Beach, South Carolina
At First Light: The Katagami Sculpture of Jennifer Falck Linssen
through September 16, 2012

Handcrafted vessel of katagami-style handcarved paper. Materials include archival cotton paper, aluminum, waxed linen, paint, varnish, freshwater pearl, and sterling silver.

Utilizing the ancient Japanese paper carving technique of katagami, Colorado-based artist Jennifer Falck Linssen creates three-dimensional sculptures that explore the beauty of line and the delicacy of nature. Since 2003, Jennifer has been shaping katagami stencils into three-dimensional vessels and sculptures, combining the katagami paper carving with more traditional metal-smithing and basketry techniques to create contemporary sculptures that transform the two-dimensional stencil into a unique three-dimensional art form.

Myrtle Beach Museum of Art
3100 South Ocean Boulevard
(across from Springmaid Pier)
Myrtle Beach, SC 29577
phone 843.238.2510
fax 843.238.2910
www.myrtlebeachartmuseum.org

East Hampton, New York
Accumulations NOW
through October 6th

Dawn MacNutt is one of the artists included in Accumulations NOW

Accumulations: NOW bills itself as, “[s]imply, the best of craft. NOW.” Cuurated by Jack Lenor Larsen, the exhibition at LongHouse Reserve features 500 works made in the last 100 years, including a number of important pieces from the collection of the late Dena Katzenberg. Artists shown in the NOW collections include, in fiber Anni Albers, Jun-ichi Arai, Dawn MacNutt, Ed Rossbach, Peter Collingwood, Ethel Stein, Helena Hernmarck and Chunghie Lee; in clay Hans Coper, Toshiko Takezu and Peter Voulkos; hollowware by Chunghi Choo; and furniture masters including Judy Kensley McKie and Edward Wormley. You can see the exhibition catalog and installation shots, here: Accumulations_Now_Catalog.pdf and here: http://www.longhouse.org

LongHouse Reserve
133 Hands Creek Road  East Hampton, NY 11937
phone 631.604.5330
http://longhouse.org

 

San Francisco, California
Fiber Futures: Japan’s Textile Pioneers
Part one through October 6th
Part two October 13 – December 29th

Takaaki Tanaka in front of his work at Fiber Futures when it was in New York at the Japan Society

If you missed this remarkable exhibition last fall at the Japan Society in New York (or in an earlier incarnation in Japan) you’ve got another chance. Fiber Futures explores a new art that is emerging from a remarkable fusion of Japanese artisanal and industrial textile making. Coaxed from materials as age-old as hemp and newly developed as microfilaments, a varied array of works by 30 artists from multiple generations, including Hisako Sekijima, Takaaki Tanaka, Naoko Serino, Hideho Tanaka, Naomi Kobayahsi and Kyoko Kumai, are on view in this important two-part exhibition.

Museum of Craft and Folk Art
51 Yerba Buena Lane
San Francisco, CA 94103
phone 415.227.4888
http://www.mocfa.org

Minneapolis, Minnesota
In Our Nature: Tapestries of Helena Hernmarck
through October 14th

Helena Hernmarck 2009 FOREST PATH , wool and linen, 6′ 7″ x 6′ 7

In Our Nature: Tapestries of Helena Hernmarck, is an assemblage of 19 large-scale tapestries by  legendary trompe-l’oeil weaver, Helena Hernmarck. Monumental works immerse the viewer in the best of nature: lush blooms, rich green forest scenes, and sunny poppy pastures. Hernmarck’s work represents a lifetime of closely honed weaving technique that combines intensely sensitive attention to color with one-of-a-kind combination of textures creating layered, shaded effects. The tapestries in In Our Nature: Tapestries of Helena Hernmarck are on loan from three major arts museums, several corporate and individual collectors, and from Hernmarck’s own collection.

American Swedish Institute
2600 Park Avenue
Minneapolis, MN 55407
phone 612.871.4907
http://www.asimn.org

Olympic Art News: David Watkins Talks About Designing the Medals for the 2012 Games

August 5, 2012 0 Comment

London 2012 Olympic medals designed by British artist David Watkins.
The Olympic medals disk circular form is a metaphor for the world. The front of the medal always depicts the same imagery at the summer Games – the Greek Goddess of Sport – ‘Nike’ – stepping out of the depiction of the Parthenon and arriving in London.

Turns out that our family friend, and very talented artist, Davis Watkins, was selected from among 100 artists to design the medals for this year’s Summer Olympic Games. For the Olympic bronze, silver and gold medals, Watkins developed a striking geometric design, juxtaposed with imagery on the front of the medal, which has since 2004 depicted Nike, the Greek goddess of victory, stepping out of the Parthenon. His design for the back of the medal features a 3-dimensional emblem that suggests the built structures of a modern city, a background grid that radiates energy, a ribbon-like form representing the River Thames, and a square, to balance the circularity of the design. Get a behind scenes view of the design process at the Crafts Council’s web page: Striking Gold, http://onviewonline.craftscouncil.org.uk/striking-gold, where Watkins and his student Lin Cheung, who designed the medal for the 2012 Summer Paralympic Games are interviewed. If you are in London, the medals are on display at the British Museum through September 9th http://www.britishmuseum.org/whats_on/exhibitions/london_2012_games_medals.aspx.

David Watkins, photo by Tom Grotta

With Wendy Ranshaw, Watkins is part of an art power couple (like Frida/Diego, Pollack/Krasner, and in our field, Stocksdale/Sekimachi, Rossbach/Westphal, Kobayashi/Kobayashi, McQueen/Mensing; Brennan/Maffei, etc.) If you get as far as Wales, you can see Wendy Ranshaw’s solo exhibition of jewellery and objects, Room of Dreams, at the Ruthin Craft Centre — also through September 9, 2012 http://www.ruthincraftcentre.org.uk/08artists.html.

Art for Good: Kids, Creativity and the International Child Art Foundation

July 14, 2012 0 Comment

Pick Up Your Pencils, Begin by Harriete Estel Berman installed at Anita Siepp Gaalery, Castilleja School, Palo Alto, California in March 2012. Photo: Phillip Cohen.

Pick Up Your Pencils, Begin, side view. Photo: Harriete Estel Berman.

Last December, we advertised out first gift site. For each gift purchased from the site, we promised to make a donation to the International Child Art Foundation, which we did. http://www.icaf.org/whatwedo. The ICAF seeks to ignite a “Creativity Revolution” that will spearhead American ingenuity and draw upon our collective imagination to solve problems and find innovative solutions to global challenges. For the revolution to succeed, creativity must be nurtured in our children.Twenty-two percent of the U.S. population (and 27 percent of the world’s population) are under 16 years old. The scientific evidence on the “4th grade slump” by E. Paul Torrance, known by some as the “father of creativity,” points to the need for creative education. For 15 years, ICAF has supported creative arts education, designed global programs — including ChildArt magazine, the World Arts Olympiad, Asian Tsunami Healing Arts Program and the World Child Award — tested the effectiveness of existing programs and hosted events, exhibitions and symposia. The ICAF is committed to spearheading the global children’s creativity revolution in order to reaffirm U.S. global leadership this century and beyond.

This post also gives us a chance to share Harriete Estel Berman’s thought-provoking piece, Pick Up Your Pencils, Begin. The work required four years of effort and thousands of pencils from all over world.  Successful on several levels, the installation, 15 feet tall and 28 feet wide, creates a bell curve, highlighting the impact of standardized testing on our educational system — a creativity-endangering development if ever there was one. For more information, visit Berman’s website at: http://www.harriete-estel-berman.info/sculpt/pencilPage.html.