Notes from ningyo editions studio and gallery

A Little List of Killer Kids in Film and Literature


( From David Cronenberg’s The Brood)


It seems you can’t walk out your own door these days without running into some child or other: they’re in strollers or tied to each other with ropes in wagons so they don’t run off into the streets.  They’re walking in packs with mittens hanging from their sleeves.  I’m also assuming they’re in school.  What’s more, everyone is having them – so it’s not a passing fad.  For no good reason I decided to compile a short list of some of the best examples of the Killer Kid sub-genre.

Some will point out serious omissions: the kid from Steven King’s Pet Cemetery; Thomas Tryon’s The Other, or James’ The Turn of the Screw and it’s beautiful film adaptation The Innocents.  Most of these I don’t feel like re-reading (or re-watching) and so cannot write about with authority.  An incomplete list to say the least, so please post any glaring omissions in the comments. Read the rest of this entry »


Filed under: Reviews, Uncategorized

This Blog’s Mysterious Name, its Origins, A Dialogue

Someone is always coming up to me and asking about ningyo editions or the title of this blog, “ningyoprints.” I can’t even sit down in a restaurant to a sweet potato quesadilla without some confused, inquisitive busybody asking what ningyo editions was, or what it is, or more to the point, how it is pronounced.  And then the blog, there’s that word again!  Well, Smart Guy, pretend you are learning to read for the very first time.  You sound out the syllables to form words.  Ergo, it is pronounced nin-gyo, just as it sounds: “ning” as in “planning” + “gy-o” pronounced as if you’ve run into someone you initially think you hate so you begin to tell them to “go” but then suddenly realize they’re okay and so you change your salutation to “yo.”

I remind these people that both the press and the gallery are closed, while the blog lives on.  I tell them that I’d rather focus on my own work than facilitate the work of other people, who, wonderful and delightful as they may be, nevertheless saw me busting my ass with little hope of financial recompense (what an asshole I sound like).  Then I make a brief comment as if to myself about how all these questions can possible merit interrupting someone’s lunch.  However, people are stubborn as mules and I am like an irritable feline.  A bad combination, but unavoidable, so I put down my fork and engage.  I  transcribe a typical conversation between ME and the typical INQUIRING PERSON.  It runs something like this:

INQUIRING PERSON: What is Ningyo Editions?

ME:  The accurate question would be what was  ningyo ediitons? (Here I emphasize the lower case).  It was a printmaking studio and gallery in Watertown Square specializing in etching and relief printing.   We published artists’ editions by invitation.  We still offer contract printing and editioning services.  Are you interested?


ME:  We closed over a year ago, or about a year ago.  I can’t remember.  These days I’m eating lunch, as you can see.

INQUIRING PERSON: Are you a not-for-profit or a cooperative?

ME:  Again, the word you use should be were, not are.  The past tense, even the imperfect, is acceptable, but, aside from the blog, we are talking about things that have happened some time ago.  (I put my fork down in resignation.)  We refer to these times as the past and make linquistic  amendments to our language to account for this.  (Pause)  We were not a not-for-profit only in the sense that, after paying rent and utilities each month, no profit was made.The opposite, in fact.

INQUIRING PERSON: (ignoring the quip, which nettles a bit – I thought it was funny): How big is your press?

ME:  Um, well, I haven’t measured, but I haven’t had any complaints.  Oh! The press!  Right,  well, it’s a 24 x 36” Takach etching press.  It can accommodate a full  22 x 30″ sheet  of paper.  But, you know, it feels bigger than it looks.

INQUIRING PERSON (frowning): What does “ningyo” mean?  Am I even pronouncing it right?

ME:  You’re a bit deaf as I believe we just went over that.  Neen – gyo.  It’s Japanese for “doll.”  It also means a person who is half human/half fish, like a mermaid.  Do you like mermaids?

INQUIRING PERSON: (Ignoring the question) Why did you name it that?

ME: Well, I didn’t want to name it after myself, since I hear my own name frequently enough when I’m scolding myself.  I also didn’t want to name it, say, after the street number (i.e. “Studio 81″) like so many restaurants do, or after the street itself (i.e. “Spring Street Editions”).  So I naturally named it ningyo.

INQUIRING PERSON:  I notice you keep using lower cases.  You clearly felt no need to capitalize the name, but never mind that.  What about the rabbit?  The logo is a rabbit. It’s still on your door.  Shouldn’t ningyo mean “rabbit”?

ME:   (reflecting) …perhaps it should,  but I cannot change the Japanese language.  I haven’t looked into it, but the red tape, you know.  Nevertheless, you are correct, the rabbit has nothing to do with the word ningyo, nor does a rabbit relate in any way to a mermaid.  Do you like mermaids?

(Ignored again!  Then silence, frowning, obviously still confused.  My quesadilla has gone to room temp.)

ME:  Well now, if you’ll excuse me I-

INQUIRING PERSON:  Of course, sorry to have bothered you, Mr. Curcio, and good luck in your future endeavors.

ME: Thanks so much for your interest!  (then incomprehensible, disgruntled muttering, sotto voce)

This concludes the exchange.  I hope that this imaginary yet accurate conversation has helped explain the completely ambiguous nature of the name of my defunct gallery and current blog.  No doubt as time goes by I will continue to construct new rationales and raisons d’etre for an etching studio, gallery and blog with a name that, to my chagrin, the public found so hard to process or even pronounce.  For now, excepting the fact that I have just written about it, it is the last thing on my mind.

Bored Now

Bored Now

Filed under: Uncategorized

Jennifer Koch’s Scissor Drawings

The Chinese were printing on paper with woodblocks over a thousand years before most Europeans even knew what a piece of paper was, and before they were printing on it they were cutting it.  So begins an ongoing history with styles and techniques developing independent of one another across continents and hemispheres, yet all inspired by a bounding line created from a deeply contrasting, shadowed edge and the sheer dramatic impact of the silhouette. Read the rest of this entry »

Filed under: Editions (from ningyo editions), Uncategorized

Kathleen O’Hara

The ubiquity of greeting cards throughout Kathleen O’Hara’s childhood and adult life (her parents own a greeting card company) has naturally found its way into her work, as evinced in landscapes that manage to be at once quaint and eerie.  Other influences include film stills, collectibles, catalogues, and newspapers (images of which are often collaged directly onto the work.)  Despite the benign scenes that influence her work, her landscapes are often altered to highlight disquieting features such as angry dark clouds or silent, colossal icebergs.  These inimical features imbue quaint idylls with the awe and terror that the Romantics felt towards the forces of nature.

Newfoundland, 2010, acrylic, marker, pencil, collage on canvas, 24×30”

Read the rest of this entry »

Filed under: Editions (from ningyo editions), Uncategorized

Jane D. Marsching’s Ice Out, and also the first post

To read descriptions on how prints are made is generally hopelessly boring to all but the most curious technicians, and in most cases the same should be said about writing them.

But the creation of Ice Out presented conceptual challenges that dictated new and unfamiliar technical means: how to depict the gradual melting of the ice-covered Walden across a small series of images that would bring the viewer from the crystalline chill of the frozen surface to the verdant expanse of spring’s eventual triumph; how to depict data which records a process so un-visual as comparisons of wind speed and direction; and how to present both expansive tone and color with the minutiae of this data in a balanced, harmonious, and equally engaging manner. This makes at least the task of writing about technique far more engaging. Read the rest of this entry »

Filed under: Editions (from ningyo editions), Uncategorized

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