Yes, Lino Tagliapietra and his incredible glass have moved on to the Renwick Gallery, Smithsonian. That the show is progressing to such prestigious and iconic venues speaks volumes about its place in the art world and perhaps also explains why docents and security staff alike are deeply grieving its “going.”

Because of the beautiful and sometimes troubling nature of the art created as the artist shines a flashlight on society, each exhibit tends to evoke widely varied reactions from docents, who whisk patrons through galleries in a sometimes break-neck 30 minute pace and certainly from Security staff who spend much of their day in that same gallery.

But according to Security Guard Brian, Lino’s work made their hours in the gallery truly easy. Happy, happy patrons moved through the gallery, walking, stopping, discussing and in awe of the volume, the variety, and the incredible beauty of both the processes and the pieces. “For the entire length of the exhibit, no one asked, ‘Where’s the Chihuly?’” he said.

“People particularly loved the boats,” new Security Guard, Shawn, related. “This was my first time seeing or guarding glass. The difficult part was everyone wanted to take pictures of Endeavor.” Shawn’s favorite piece because of all the pipe changes was Medusa.

Gene, who admitted to not having a real affinity or exposure to art before Lino, said “I could walk through the same gallery 25 times, and each time I would see something different that I hadn’t noticed before.” Gene’s favorite was the Spirali, and if he could just decide which of the goblets was more beautiful he would be glad to point out a favorite. However, his most interesting memory was about the artist, himself, who was always so personable and friendly as he came through security to check in, once even offering a box of Italian cookies and candies.

Lino did tend to have a positive impact on those around him. Jamie related having to work late so that a Lino interview could be videotaped in the gallery. At its conclusion, Lino made a point of coming over to each security guard, shaking their hand, and personally thanking them for their “long day.” Jamie particularly enjoyed the Angel Tear and Dinosaur pieces and wondered, as did the many patrons who asked her, “How did he manage to balance those?” An equal number of museum guests were in awe of the cold working on those pieces.

The cold work on Occhi was one of Brian’s favorites although he admitted that his favorites did change; one day it would be the blue Dinosaur, the next it was the blue Spirali. What impressed him was Lino’s generosity of spirit as he happily autographed two of Brian’s books as he exited the hot shop putting Brian at ease about his request. At the end of Lino’s stay he asked Brian if he could take a Museum of Glass badge home with him as a souvenir of his wonderful experience here. Brian made him one on the computer complete with his picture.

The final day of the exhibit, Brian came in an hour early at 5:00 a.m. “so I could soak it all in one more time and take as many mental pictures as I could. I felt really sad to see it go.” Great art and great men can have a powerful effect.

Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass Travel Schedule:
• Renwick Gallery, Smithsonian
American Art Museum
October 2nd , 2008 – January
11th, 2009
• Chrysler Museum of Art
April 8th – July 19th, 2009
• Palm Springs Art Museum
Sept. 26th- Dec. 27th, 2009
• Museum of Arts and Design
February 1st – May 31st, 2010