In Spoonbridge and Cherry, how is the Reception discussed?
The editors of Phaidon Press wrote favorably of the sculpture's placement in a park frequented by families, writing that the "surprise of finding a oversized fruit spooned up in a park, together with its curved forms and the bright colour, creates a sensuous joy that makes the work immediately accessible to a wide audience, including children."Writing in the Star Tribune a year after the Sculpture Garden's opening, Chris Waddington found the linden seed pond critical to enjoying Spoonbridge, writing that in winter months when the pond was frozen and snowed over, the sculpture "can seem like a soulless mock-up, a quirky idea that lost its charm somewhere between the artist's hand and the factory where it was built; but with spring comes the fountain's spray, the pool's play of liquid reflections on steel and an animate charge that recalls the poetry of the artists' original sketches."Within a decade of the Sculpture Garden's opening, the Star Tribune reported that Spoonbridge was "something of an icon for the Walker". In 2001, Eric Dregni wrote that the sculpture had "become the unofficial symbol of Minneapolis" and in 2008, City Pages described it as "one of the Twin Cities' most iconic images." The Walker reported receiving more requests for images of Spoonbridge and Cherry than any other work in its collections.
Star Tribune Phaidon Press City Pages Minneapolis