Books and Exhibition Catalogs
Claes Oldenburg: An Anthology. New York: Guggenheim Museum, 1995.
This catalog was created for an exhibition organized by the National Gallery of Art, the Guggenheim Museum, and The Museum of Contemporary Art. The exhibit and this book chronicle Oldenburg’s career from the early sixties to the mid nineties, including his large scale objects. The book begins with a biographical essay written by Martha Prather. Mark Rosenthal’s article, “’Unbridled ‘Monuments:or, How Claes Oldenburg Set Out to Change the World,” documents Oldenburg’s anarchistic ideology throughout his career. A photograph of Spoonbridge and Cherry spans two full pages. A small scale model and a drawing, two representatives of the sculpture included in the exhibit, are also featured in the catalog.
Fuchs, R.H. Claes Oldenburg, Large-Scale Projects, 1977-1980 : Based on Notes, Statements, Contracts, Correspondence, and Other Documents Related to the Works. New York: Rizzoli, 1980.
This book discusses the couple’s large- scale projects, processes, and collaboration. What makes this book so relevant despite its date of publication, is its mention of the reoccurring spoon motif in Oldenburg’s work, such as the preliminary sketches for a commission for a sculpture at the Social Security Administration building in Chicago.
Gianelli, Ida and Marcella Beccaria. Claes Oldenburg, Coosje van Bruggen : Sculpture by the Way. Milano: Skira, 2006.
“Sculpture By the Way” was an exhibition held at the Castello di Rivoli Museum of Contemporary Art, Rivoli-Turin, Italy, Oct. 25, 2006-Feb. 25, 2007. This catalog of the event features an article written by Coosje van Bruggen about the couple’s public sculpture in an urban setting. van Bruggen centers the article on she and Oldenburg’s intention to “anchor” each large scale object to its site and to “extend it to the skyline.” Spoonbridge and Cherry is among the public sculptures discussed. The artists contemplate the meaning of the artwork and its relation to the surrounding architecture. The article features illustrations of Spoonbridge and Cherry as well as smaller scale models of the piece.
Livingstone, Marco. Pop Art: a Continuing History. New York: Harry N. Abrams, Inc., 1990.
Pop Art is a look at Pop Art, a movement popularized by the likes of Andy Warhol and Oldenburg himself. Oldenburg’s works appear throughout the book. Spoonbridge and Cherry is not noted; however, this book may provide a better understanding of the sculpture within the context of the Pop Art movement.
Minneapolis Sculpture Garden: A Collaboration Between the Walker Art Center and the Minneapolis Park and Recreation Board. Minneapolis: Walker Art Center, 1998.
This catalog of the Minneapolis Sculpture Garden begins with a testimonial from Kathy Halbreich, the director of the Walker Art Center, about the garden’s place in the hearts of art enthusiasts, tourists, and the people of Minneapolis alike. A history of the garden site and an article about the garden’s architecture and design are followed by descriptions of each piece in the garden, including Spoonbridge and Cherry.
Oldenburg, van Bruggen. Large Scale Projects. London: Thames and Hudson Ltd, 1994.
In the Spoonbridge and Cherry article, the artists write about the process from which they were asked to contribute a sculpture to the Minneapolis Sculpture Garden to the challenges of creating and implementing Spoonbridge and Cherry. The artists discuss how the sculpture took on many forms before they settled on a spoon and cherry, and from where and how the spoon motif emerged. Being only their second fountain project, Spoonbridge poised a special set of challenges for the duo. The sculpture’s composition is described as being curvaceous, with its curves “working in harmony and contrast with one another.” Several illustrations of various models and blueprints help make this article an important resource for anyone interested in learning about Spoonbridge and Cherry. Large Scale Projects in its entirety is a complete overview of the artist’s works from the 1970s to 1990s.
Oldenburg, Claes, Coosje van Bruggen and Germano Celant. A Bottle of Notes: Claes Oldenburg, Drawings, Sculptures, and Large-Scale Projects with Coosje van Bruggen. New York: Rizzoli International Publications, 1988.
This book features articles by the artists and Germano Celant. The book recounts the couple’s large-scale projects to date. Spoonbridge and Cherry is mentioned as a “work in progress.” A wood and plexi-glass model of Spoonbridge is pictured.
Walker Art Center: Painting and Sculpture from the Collection.
New York: Walker Art Center and Rizzoli International Publications, 1990.
This comprehensive catalog of the Walker Art Center’s collection includes a synopsis of the sculpture from its planning to its future. A good explanation of the reappearing spoon motif in Oldenburg’s prior works is given. A rare view of Spoonbridge and Cherry is featured on the cover and accompanies the article. A small scale model for Spoonbridge and Cherry, which was acquired with the sculpture itself, is featured as well.
Films and Visual Sources
Claes Oldenburg. Dir. Gerald Fox. Home Vision Arts, 1996.
This film takes the audience into Oldenburg’s studio and home to reveal the working relationship between van Bruggen and Oldenburg. The artists discuss their large scale objects and their exhibit at the Guggenheim Museum. The artists’ contemporaries, friends, and critics comment on the couples’ works. The artists discuss peoples’ reactions to their large scale objects and address criticism on their collaboration. Brief footage on the construction of Spoonbridge and Cherry is used as an example of the couple’s compatibility and collaborative success.
Claes Oldenburg: a Film. Dir. Claes Oldenburg. Michael Blackwood Productions, 1986.
Shots of the Macy’s Thanksgiving Day Parade, an inspiration to Oldenburg, begin this documentary on Claes Oldenburg’s work. Though Spoonbridge and Cherry itself is not mentioned, this film recounts Oldenburg’s creative process when creating large scale objects. Oldenburg invites the audience into his factory workspace on the West Side of Manhattan, where everyday objects inspire the artist. Oldenburg describes his experiences working with various materials and his experimentation with different scale models.
Large Scale Projects: Claes Oldenburg, Coosje van Bruggen.
Dir. Lana Jokel and Nick Doob. Kultur International Films, 1998.
Lana Jokel and Nick Doob document the creative process and construction of Oldenburg and van Bruggen’s large scale objects. The film features Spoonbridge and Cherry as well as several other large scale projects such as Knifeship. Interviews with the artists and their contemporaries reveal the secrets of the Oldenburg/van Bruggen successful collaboration. Footage from within the artists’ studio depicts the early stages of the thought process. The Spoonbridge footage shows the construction of the sculpture as well as artist interviews. Oldenburg describes the influence on the surrounding area on the fountain’s design. Oldenburg and van Bruggen respond to admirers’ questions, such as “why not a fork?”
Oldenburg, Claes. Spoonbridge and Cherry [slide] Minneapolis Sculpture Garden, Walker Art Center. Minneapolis 1998, 7 slides : col. ; 2 x 2 in.
These seven slides feature four different views of the sculpture from differing angles and seasons. One slide features Oldenburg’s sketches of a navy pier in the form of a spoon, one features a model of Spoonbridge and Cherry, and another slide is the original of a poster of Oldenburg’s well-known drawing, Spoonbridge and Cherry with Running Man and Sailboat 1988.
Articles from Scholarly Journals and Art Periodicals
Cochran, Rebecca Dimling. “Creativity Loves Company.” Art & Antiques 30.6 (2007):52-4.
The artists recall their success from their first meeting, to their union in marriage, and up to the present day in this thirty-year retrospective of their collaboration. van Bruggen credits their differing points of view for their success, while Oldenburg credits van Bruggen for placing pieces in relation to their surroundings.
Gustafson, Donna. “Food and Death: vanitas in Pop Art.” Arts Magazine Feb (1986): 90-93.
This article provides a backdrop to the use of food as a common theme in pop art, such as a cherry, or Oldenburg’s earlier Raisin Bread soft sculpture. Gustafson explores the use of food imagery in the works of pop artists Oldenburg, Warhol, and Rosenquist, among others. Although Spoonbridge and Cherry is not mentioned in this article, the ironic use of food that is celebrated throughout pop art applies to its balanced cherry.
“Larger Than Life: Claes Oldenburg and Coosje van Bruggen Think-and Build-Big.” Journal of Art 5 (1991).
In this interview, the couple reflects on their collaboration, their home life, and their civic-mindedness. van Bruggen reminisces of how the couple tried to remain under the New York art scene radar with their early public sculptures, as well as their refusal to accept private commissions. This article really emphasizes the couple’s anarchistic views.
Lee, David. “Oldenburg” Arts Review June 1996.
This scathing review of Oldenburg’s 1996 exhibit, “Claes Oldenburg: An Anthology” poses questions concerning the artist’s public art pieces. The critic argues that Oldenburg’s pieces are self -indulgent and a a waste of public funding. Mr. Lee speaks of his encounter with Claes himself, when he got a chance to ask Mr. Oldenburg these same questions.
“Minneapolis: the Walker Grows a Garden.” Architectural Record 176 (1988): 65.
This is merely a brief mention of the garden’s construction and scheduled September 1988 opening. An illustration of the garden’s layout is featured.
Mullaney, Tom. “Cherry Jubilee: Minneapolis Sculpture Garden Walker Art Center.” New Art Examiner 26.4 (1998/99).
This article celebrates the garden’s 10th anniversary and reflects on Spoonbridge’s iconic status. The author points out how difficult it is to display large sculpture, and remarks that the Minneapolis Sculpture Garden does it with style and grace.
Ramljak, Susan. “Claes Oldenburg: Lifetime Achievement Recipient.” Sculpture 13.5 (1995): 18-19.
Upon receiving the International Sculpture Center’s Lifetime Achievement Award, this article is a survey of Oldenburg’s career. The author describes Oldenburg’s “generous” sculpture as “sexy and smart, funny and daring.” The article and the award highlights Oldenburg’s role in the art world.
“Report from Minneapolis: Garden City.” Art in America 76.2 (1988): 28-31,33,35,37.
This review of the Minneapolis Sculpture Garden pictures Oldenburg’s sculpture during its construction and praises the sculpture as being “compelling.” The author notes the excitement of Spoonbridge admirers and their urge to climb the inviting fountain.
Sterling, Carol. “Where a Soul’s at Ease: Gardens, Museums and the Early Fabric.” Sculpture 18 .8 (1999).
An interview with Martin Friedman that emphasizes the civic mission of the garden. Friedman spoke at length of Oldenburg and van Bruggen’s community involvement, which included teaching local students about sculpture and art. The article further explains the collaboration between the walker Art Center and the City of Minneapolis.
“The Museum in the Garden.” Progressive Architecture 69 (1988):106-7.
This article was written from an architect’s perspective. It provides logistical information as well as design analysis of the Minneapolis Sculpture Garden. The garden is proclaimed as being a “seamless fusion of landscape, art and architecture.” A photograph of the garden in its entirety is pictured. Photograph by Mark Daly.
Treib, Marc. “Sculpture and Garden Overview.” Design Quarterly 141 (1988):44-59.
As its title implies, this article is an overview of sculpture in gardens. Marc Treib traces the use of sculpture in gardens from Roman times to the present. He draws from the sculpture on the grounds of Versailles, an inspiration to the Minneapolis Sculpture Garden’s designers. Mr. Treib’s article provides a historical backdrop to which can be the present -day Minneapolis Sculpture Garden and Spoonbridge’s role in that garden can be compared and analyzed.
Dissertations
Penca, Jessica Trese. Walker Art Center, Palais de Tokyo, and Documenta: A Case Study of Creating Social Spaces and Participatory Experiences for New Audiences. Diss. U of Southern California, 2006.
A case study of the Walker Art Center’s attempts to connect the public through art centers on the Minneapolis Sculpture Garden. Mention of Spoonbridge and Cherry is limited. However, this work serves more as an exploration of public art and its effects on communities in Minneapolis and around the world.
Newspaper and Popular Magazine Articles
Ames, Katrine. “Fresh-Fruit Fountain.” Newsweek 30 May 1988: 73-74.
This brief announcement of Spoonbridge and Cherry accompanies a quote from Claes Oldenburg. The featured photograph of Spoonbridge and Cherry is by Glenn Halvorson.
Brenson, Michael. “Art View; Coming to Grips With Contemporary Sculpture.”
New York Times 19 June 1988, Sunday late ed., sec.2.
This is a review of Sculpture Inside and Outside, a 1988 exhibit at the Walker Art Center featuring Spoonbridge and Cherry.
“Big, Bold Oldenburg.” The Washington Post 17 Feb. 1995, final ed., sec. N.
This article is a review of the Oldenburg exhibit at the National Gallery of Art in 1995. Spoonbridge and Cherry was mentioned in the conclusion as one of the “best pieces” being absent from the gallery due to its “architectural scale.” A photograph of Spoonbridge is featured.
Diesenhouse, Susan. “As Sales Drop, Builders of Boats Turn to Artworks.”
New York Times 20 Mar. 1988, Sunday late ed., sec. 1.
This article centers on the similarities between boat building and constructing large sculpture. At a time when the boat industry was slow, Merrifield Roberts Inc., a custom boatbuilder in Connecticut, and Paul E. Luke Inc of Boothbay Harbor, ME, took on the Spoonbridge project. This article succinctly describes why shipbuilders were chosen to construct the piece. The construction of Spoonbridge and Cherry was among the first of its kind in this growing trend in which shipbuilders and artists collaborate.
“Gardens Augment Sculptures' Beauty; N.Y.'s Kendall One of the Finest.” Washington Times 9 Aug. 1992, Sunday ed., sec. E.
Spoonbridge and Cherry was among a collection of prominent sculptures displayed in gardens and other public settings. Spoonbridge and Cherry is highlighted above all the other sculptures in the Minneapolis Sculpture garden and heralded as a ‘symbol of the city’[of Minneapolis.] The Minneapolis Sculpture Garden joined the ranks of highly praised sculpture gardens such as the Donald M. Kendall Sculpture Gardens just north of New York City and the oldest sculpture park in the United States, the Storm King Art Center.
Goldberger, Paul. “Architecture View; Sculptural Links in the Chain of Urban Events.” New York Times 29 Jan. 1989, Sunday late ed., sec. 2.
An admiring review of the Minneapoils Sculpture Garden, this critic equates the garden to the Museum of Modern Art garden. Spoonbridge and Cherry is mentioned in the article.
Goodfriend, Anne. “10 Great Places to Steal a Kiss -- and Give One Back.”
USA Today 10 Feb. 2006: 3D.
Spoonbridge and Cherry simply appears on this list as the “perfect date place.”
Hainer, Cathy. “Weekends are the Right Times for these Five Cities.” USA Today 3 Nov. 1992, final ed., sec. 4.
This quick look at Minneapolis as a tourist hot spot from a local’s perspective recommends the Minneapolis Sculpture Garden as “Must-See.” A photograph of Spoonbridge and Cherry is featured.
Hellekson, Diane. “Minneapolis Sculpture Garden is Already Spooning Up Whimsy.” St. Paul Pioneer Press 10 May 1998.
This is a look at Spoonbridge and Cherry before its completion and opening ceremony. The article features a brief biography of the artistic duo and a quote from the Walker Art Center’s director.
Hellekson, Diane. “Although Full of Art, it is Not Complete, nor Will It Ever Be.” St. Paul Pioneer Press 4 Sept. 1988.
Diane Hellekson applies a “theme of hollowness” to the Minneapolis Sculpture Garden as potential growth and maturation. This well written article critiques a few choice sculptures within the garden, including Spoonbridge and Cherry. An overview shot taken by Joe Rossi accompanies the article.
Hoffman, Ellen. “The Fine Art of Dining.” Business Week 15 Aug. 2005: 86.
An ice cream sundae inspired by Spoonbridge and Cherry served at the Walker Art Center’s retaurant represents the piece’s iconic status. This article announces the celeboratory treat.
Kaslow, Amy. “Claes Oldenburg Plays Jack and the Beanstalk With Giant Sculpture.” Christian Science Monitor 6 Apr. 1995: Arts sec.
A review of Oldenburg: an Anthology at the The National Gallery in Washington. Author gives little biographical information on Claes and his work. Oldenburg’s absent sculptures are noted as being represented by smaller models and photgraphs.A photograph of Spoonbridge and Cherry(model) 1987 accompanied the article.
Lamb, Gregory M. “In Downtown Minneapolis, an Oasis of Art.” Christian Science Monitor 15 Sept. 1989:Arts sec.
This article is a look at the Minneapolis Sculpture Garden as a public space and a source of pride within the community. Spoonbridge is featured as the leading piece in the garden. In this article, Coojse van Bruggen describes the sculpture as a ‘parody of table manners.” A photograph of Spoonbridge and Cherry by the Walker Art Center is featured.
Martin, Mary Abbe. “20,000 Find Love at First Sight.” Star Tribune [Minneapolis] 25 Sept. 1988.
This glowing review of the Minneapolis Garden recounts its recent opening weekend. 20,000 visitors enjoyed the garden that weekend. The author depicts the garden as warm and welcoming. A description of the garden’s design includes the architect’s consideration for future growth.
Martin, Mary Abbe. “Art Weekend Spectacular.” Star Tribune [Minneapolis] 9 Sept. 1988.
Several sculptures are highlighted in this announcement of the grand opening festivities at the Minneapolis sculpture Garden. Written just a few days before the celebration, Ms. Martin comments on the national attention the garden and its Spoonbridge and Cherry had generated at that point. The author concluded with a warning to readers that the celebration will be a family affair, welcome to all and promising to be a grand time.
Martin, Mary Abbe. “Crane Operator gets Applause as Sculptor's Muscles.” Star Tribune [Minneapolis] 9 May 1988.
The spotlight of this article is not on any artist or museum director; this article focuses on crane operator Ed Klemish of Anoka. Mr. Klemish, a man more accostumed to building skyscrapers than art, is interviewed about his job piecing together Spoonbridge and Cherry. Due to its architectural stature, the Oldenburg/van Bruggen sculpture required experts familiar with steel and concrete. The article then plunges into other aspects of the installation of large sculpture in the garden, such as soil conditions and concrete reinforcements. This is a great article for those who are curious about the installation process of Spoonbridge and Cherry, as well as the other sculptures in the Minneapolis Sculpture Garden.
Martin, Mary Abbe. “Garden Opens to a Blizzard of Balloons, Band Music.” Star Tribune [Minneapolis] 11 Sept. 1998.
This article is a review of the Minneapolis Sculpture Garden’s opening celebration. The opening was attended by a number of artists and other visitors, including Claes Oldenburg himself. The article praises the partnership between the city of Minneapolis and private investors as a success.
Martin, Mary Abbe. “Garden Party.” Star Tribune [Minneapolis] 11 Sept. 1998.
Toying with the idea of dubbing Minneapolis “Cherryapolis,” Mary Abbe revisits the Minneapolis Sculpture Garden on its tenth anniversary. The writer discusses Spoonbridge and Cherry’s iconic status, noting the prevalence of the spoon and cherry motif throughout the city, including restaurants. The article heralds the garden’s impact on the city, such as the revitalization of the surrounding neighborhoods in the years since its development. The article concludes with a mention of the garden’s superb maintenance and an announcement of the 10th anniversary celebration, to be held that weekend.
Martin, Mary Abbe. “Minneapolis Sculpture Garden is a Monument to Teamwork.” Star Tribune [Minneapolis] 4 Sept. 1988.
This article recognizes the collaborative effort between the many people responsible for the Minneapolis Sculpture Garden’s execution. A brief account of each prominent person’s contribution is given: architect Edward Larrabee Barnes, superintendent of the Parks Department David Fisher, Walker Art Center Director Martin Friedman, Sandra Welsh, the landscape architect, installment overseer Mark Kramer, various artists and donors, including art collector Frederick R. Weisman, whose generous donation made Spoonbridge and Cherry possible. A brief history and explanation of the garden’s design is also given.
Martin, Mary Abbe. “Show Explores Oldenburg Thinking.” Star Tribune [Minneapolis] 6 Aug. 1992.
A 1992 exhibit at the Walker Art Center entitled “Claes Oldenburg: In the Studio” follows Oldenburg’s career through a collection of props, posters, and sketches. This review of “In the Studio” celebrates the artist’s silent fame and explores his genius. The author credits Oldenburg for introducing sculpture of grandiose size into the art world, though notes a decline in the quality of his work over the years.
Martin, Mary Abbe. “Visitors’ guide to the Sculpture Garden.” Star Tribune [Minneapolis] 10 Sept. 1988.
After a brief introduction to the much anticipated Minneapolis Sculpture Garden, this article features a helpful FAQ on the garden, tackling questions ranging from “where does the water for the Spoonbridge fountain come from?” to more pragmatic concerns: “can I climb on the fountain?” and “what bus routes stop there?”
Martin, Mary Abbe. “Walker Garden to Offer a Sundae Delight Served by Oldenburg.” Star Tribune [Minneapolis] 17 Aug. 1986.
Nearly two years before its completion, this article announces Claes Oldenburg and Coosje van Bruggen’s creation, later to be known as the beloved Spoonbridge and Cherry. Walker director martin Friedman is quoted as accurately predicting the sculpture as being “a landmark.” Fredrick R. Weisman, a Los Angeles art collector, donated the money for Spoonbridge in honor of his parents. A small amount of biographical information is given about Mr. Weisman and his connection to the Walker Art Center.
McGill, Douglas C. “Art People.” New York Times 8 Jan. 1988.
This announcement includes Martin Friedman’s invitation “to sail a toy boat” on the Spoonbridge and Cherry linden seed -shaped pond. The article captures Friedman’s enthusiasm as he proudly shows the work-in-progress in sub-zero temperatures.
Millett, Larry. “Museum Without Walls.” St. Paul Pioneer Press 4 Sept 1998.
This article is a preview of the Minneapolis Sculpture Garden one week before its opening. An overview of the garden’s organization is given, with an emphasis on its superior design. A breakdown of the garden’s sculptures, including Spoonbridge and Cherry, concludes the article.
Muir, Kate. “An Awfully Big Venture.” The Times [London] 29 Apr. 1995.
The article coincides with the Claes Oldenburg:An Anthology exhibit at National Gallery in Washington and the Guggenheim in New York. It is a terrific overview of Claes Oldenburg’s work from his days in the East Village in the 1960s to his Large Scale Objects. The article touches upon his anti-establishment philosophy that is embodied in his public sculpture and his relationship with his wife and collaborator. The article delves into the process of making the sculptures, starting with the brainstorming in the studio.
The two artists then address controversy about their collaboration and their work.
“Oldenburg ; Artist's Invitation to Come Out and Play.” Washington Times 12 Feb. 1995, Sunday ed., sec. D.
This review of Claes Oldenburg: An Anthology at the Fourth Street plaza of the National Gallery does not mention Spoonbridge and Cherry specifically, but rather summarizes Oldenburgs’ career as exhibited through the anthology. Drawings and models represented Oldenburg’s large scale objects. A photograph of a 1987 small scale model of Spoonbridge and Cherry accompanied the article.
“Outdoor Sculpture To Sit On Or Climb.” New York Times 4 Sept. 1988, Sunday late ed., sec.1.
The article introduces the Minneapolis Sculpture Garden at the time of its opening as a sculpture garden where people are allowed to play on the sculptures. Spoonbridge and Cherry is mentioned as the park’s focal point. A brief statement concerning Spoonbridge’s cost was made.
Temin, Christine. “A Bridge Between Art and the Community.”
Boston Globe 16 Dec. 1990, Sunday ed., sec. B1.
This article about the Minneapolis Sculpture Garden places more emphasis on other sculptures housed in the garden than on Spoonbridge and Cherry, though the fountain is briefly mentioned as bringing “warmth to the city.”
Weber, Bruce. “Works in Progress; Pitted Against the Sky.” New York Times 17 Apr. 1988, Sunday late ed., sec. 6.
This article visits the construction site of Spoonbridge and Cherry in May of 1988, three months before its completion. Quotes from both artists elucidate the sculpture’s subject and form. Minor biographical information of the couple is given. Photographs, taken by Jan Staller, feature the artist with a Spoonbridge model and of the cherry hanging from a crane.
Weber, Bruce. “Works In Progress/an Update; So What Happened?”
New York Times 1 Jan. 1989, Sunday late ed., sec. 6.
With a brief mention of Spoonbridge and Cherry, a snippet of this article follows up on the project from the author’s last look at the piece during its construction. A quote from the Walker Art Center director hails the piece as an object of awe and affection throughout the twin cities.
Websites
The Claes Oldenburg and Coosje van Bruggen Website. 24 Nov. 2007
http://www.oldenburgvanbruggen.com
The official homepage of Claes Oldenburg and Coosje van Bruggen, which features links biographical information of the couple, photographs and links to exhibitions, bibliographies, and an image gallery.
The Claes Oldenburg and Coosje van Bruggen Website. “Spoonbridge and Cherry” 24 Nov. 2007
<http://www.oldenburgvanbruggen.com/spoonbridge.htm>
This website contains basic information and a photograph of Spoonbridge and Cherry.
Walker Art Center. The Minneapolis Sculpture Garden. 25 Nov. 2007
<http://garden.walkerart.org/index.wac>
The official Minneapolis Sculpture Garden website. Contains photographs, updates, and links to most aspects of ht garden.
Walker Art Center. The Minneapolis Sculpture Garden Artwork: Spoonbridge and Cherry. 25 Nov. 2007
http://garden.walkerart.org/artwork.wac
The authoritative website concerning Spoonbridge and Cherry with photographs, a good description of the piece, and links to video clips from the ‘Round Sculpture video, Walker Art Center 1998, and a Spoonbridge and Cherry children’s program.
Walker Art Center. Virtual Tour of Minneapolis Sculpture Garden. 25 Nov. 2007
http://garden.walkerart.org/artwork.wac
While nothing can compete with standing beneath the looming cherry itself, for those unable to travel to Minnesota, this virtual tour comes close. Viewers can opt to focus in on Spoonbridge and Cherry or tour the rest of the garden. Realtime Quickplayer is required.
