The New Yorker’s Joan Acocella profiled Basil Twist in a recent issue, and the magazine’s online team visited Twist at his studio, which you can see in the video above (click on the image), and the profile itself is worth a read:
“The crucial point about puppets,” Twist told me, “is that they are real and unreal at the same time.” At the beginning of the twentieth century, many writers and visual artists (Alfred Jarry, Paul Klee, Oskar Schlemmer, Sophie Taeuber-Arp), looking for something that was a little bit human, but much more art, made puppets, or works for puppets. The trend continues. Continue reading





















