Vernacular Art Connects 9/11 and Pearl Harbor

Vernacular Art Connects 9/11 and Pearl Harbor

  • December 7, 2021

Immediately after the 9/11 attacks, artist and photographer Jonathan C. Hyman embarked on a journey with his car, his camera, and a ladder, on a mission to chronicle the "vernacular" art popping up across the country in response to the tragedy. This journey would last more than 10 years and take him from Maine to Florida to Illinois and beyond, where he photographed tributes on building walls, handball courts, vehicles, tree trunks, construction fencing, and even human skin. Our collection includes a broad cross-section of this series, including two photos that reference Pearl Harbor - attacked 80 years ago today - in their homages to September 11. 

Eight decades after the “day that will live in infamy” and two since the one we will “never forget," Hyman spoke to us about his project of 10+ years and the pairing of the two historical events. 

Define “vernacular” art, for those who may not know the term.
I would define vernacular art as a genre of artistic expression  — often displayed and/or made in public — by people who are untrained and generally do not conceive of themselves as artists. The artwork and public expression in the aftermath of September 11 were the result of an incredible burst of creativity by many people making art for the first time. The common thread among almost all of what I photographed was the use by lay artists of objects, images, and iconography available in our popular culture.

Five-paneled mural along a highway overpass: two American flags; the date of the Pearl Harbor attack; the date of the September 11 attacks; and the words "America will not forget."
"Date Mural," Museum Purchase.
Photo by Jonathan C. Hyman

What was the story behind the two photographs in our collection — where and how did you stumble upon them? 
[Chicago mural, above] In 2005 I convinced my wife and daughter that it would be fun to drive from our home in Sullivan County, New York to a family event in Chicago. Neither of them wanted to fly and I, still engaged on a daily basis in photographing 9/11 related artwork, thought it would be a great opportunity to extend the geographic boundaries of my documentation. As we approached my cousin’s house on the freeway, I caught a huge blur of red, white, and blue out of the corner of my right eye. I immediately pushed my camera, always beside me in the car, into my wife’s hands. She was able to snap a few blurry photos as we sped by that were very helpful in tracking the mural down the following day. I returned to the mural several times before finding the right vantage point to photograph it in all of its very direct and concise grandeur.

  • Graffiti mural depicting the Twin Towers on a smoke-filled city block with the text "A Day That Will Live in Infamy." On the other side, a giant American flag amid city street signs and the text "United We Stand."
  • Graffiti-style mural featuring the Twin Towers; the New York skyline; Marvel heroes; and the text "City of Heroes."
PHOTOGRAPHS BY JONATHAN C. HYMAN

Left: "Pine Bush I: Day of Infamy," Museum Purchase. 
Right: "Pine Bush II: City of Heroes," Courtesy Jonathan C. Hyman

[Pine Bush, NY mural, above left] Less than a month after the attacks, I found myself in Pine Bush, NY. Lost on a side street, I encountered this mural. The phrase “A Day That will live in Infamy” at the bottom left of the mural is a direct reference to President Franklin Delano Roosevelt’s radio address to the nation in response to the Japanese attack on Pearl Harbor in 1941. Less obvious than the mural’s direct reference to American cultural history are two other elements that have appeared to varying degrees in other 9/11 murals. Above the "Day of Infamy" text, the World Trade Center towers are seen as rising to the heavens in an apotheosis. While the WTC towers ascend, in the bottom middle of the mural the New York City skyline appears in black, steadfast, metaphorically in mourning.

A year later I returned to this site and along with the red door and the outdoor public phone, the mural itself was gone from the landscape. Fortunately, the owner of the building commissioned another mural that he said was meant to be “more upbeat and forceful.” The second Pine Bush mural [above, right] features a handful of well-known comic book stars, including the World War II-era superhero Captain America. 

Mural featuring World War II-era ship on water; airplane above; servicemen; and a banner reading 'We Will Never Forget."
Courtesy Jonathan C. Hyman

"Wildwood: We Will Never Forget," Courtesy Jonathan C. Hyman.

Tell us a little about the Wildwood mural (at left). 
Pearl Harbor is clearly referenced in the Wildwood mural as there is a warship in the water and deeper in the background one can see the plumes of smoke from the burning wreckage of war ships. This depiction of the Pearl Harbor attacks is now a common visual construction associated with the December 7, 1941 attack on Pearl Harbor. While there is no indication that this mural was made in direct response to the 9/11 attacks, it is a memorial mural made in 2004, within three years of the 9/11 attacks and at the beginning of the Iraq war. I do think this mural is relevant to the conversation surrounding the connection between the September 11th attacks and the one on Pearl Harbor as it employs the much used 9/11 phrase, "We Will Never Forget." This mural also includes imagery of the Bald Eagle, the American flag, and a scroll, all seen to varying degrees in 9/11 memorial murals, tattoos and other kinds of memorials and commemorations. The scroll was used as a devise by muralist Joe Indart in particular, to list the names of those civilians, firemen and other first responders who died in the attacks.

In your words, why did these artists link Pearl Harbor & 9/11? What underlying sentiment do they both tap into?
I spoke with the person who commissioned the mural in Chicago, the owner of the Pine Bush building who commissioned the murals, and one of the muralists who helped paint the first Pine Bush mural. All three made the Pearl Harbor connection. They felt that though 9/11 was, like Pearl Harbor, a horrendous attack on the nation, it would - particularly the destruction of the World Trade Center - come to stand for American resolve, perseverance, and military might.

Mural featuring Mount Rushmore figures wearing first responder hats; a large unfurling American flag; the Statue of Liberty; and the New York skyline.
Photograph by Jonathan C. Hyman

Photograph by Hyman of Joe Indart's mural "Mt. Rushmore/9/11," in Brooklyn. Indart shows the famed faces of Mt. Rushmore in first responder protective gear, alongside symbols like the American flag, Statue of Liberty, and Manhattan skyline. The piece exemplifies the concept of iconography in the vernacular art inspired by 9/11. Courtesy Jonathan C. Hyman.

In your travels, have you seen recurring comparisons between 9/11 and any other historical events? 
Vernacular art was made in the aftermath of the assassinations of Abraham Lincoln and John F. Kennedy and also the moon landing in 1969. I have photographed vernacular art that memorialized the in-air implosion of the Space Shuttle in 1986. I am currently working on an article that makes convincing visual and cultural connections between the September 11th attacks and the Vietnam War. Whether it be a one-day event or an ongoing war or crisis, these kinds of national catastrophes serve as cultural ruptures that change the way people think about themselves and indeed, how nations function. All serve to varying degrees, as signposts of our collective memory and national narrative. Because we have at our disposal now multiple social media platforms, I believe much of the public artwork that might have been made and displayed publicly during the pandemic has been disseminated electronically and is therefore not available for the kind of consumption that typically leads to photography.

Why is important that we preserve works of art like these? 
The artworks and memorials I photographed are part of a dynamic process of remembrance surrounding a cataclysmic event and its aftermath. So powerfully and abundantly present in the landscape post-9/11, they tell the story of an unprecedented and spontaneous visceral outpouring of public expression. The artwork and memorials I photographed for well over a decade illustrate that the persistence of memory and the need to memorialize is now not only part of the history of the public memory of 9/11 but also inextricably connected to the changing history and interpretations of the attacks. Indeed, an argument can be made that this public history has and will help define our collective future. I believe and hope that a new generation of scholars and museum professionals, perhaps less burdened by personal and emotional connections to that fateful day and the wars that resulted from them, will study and exhibit my body of work with a vigor and evenhandedness that will enable our society to interpret 9/11 in ways that balance our need to commemorate with the more complex and demanding task of understanding who we are as a nation and what freedom and never forgetting mean in a world remade by the 9/11 attacks. Both the complexity of our memorial culture and the memory of those who perished on September 11 demand nothing less. 

By 9/11 Memorial Staff

Quilting After 9/11

Quilting After 9/11

Handmade textile quilt depicts the Twin Towers at center, ghostlike in their transparency. The crowned head of the Statue of Liberty is represented in the lower left corner of the quilt, and from it white doves and yellow stars emanate. These images are set against waves of red, white, and blue.
Spirits Rising II (2001). Collection 9/11 Memorial Museum, Gift of Betsy Shannon, Minneapolis, MN. Photo by Michael Hnatov.

Overwhelmed by grief, fear, and anger in the wake of 9/11, people around the world searched for ways to help. For those unable to participate in the rescue and recovery efforts at the attack sites, quilt making became an option for offering practical, creative, and symbolic consolation to, and support for 9/11 family members, responders, survivors, and others who were directly affected by the attacks.

“I didn't know what to do, think, even feel,” recalled Sarah Roberts, the maker of a quilt featuring a bouquet of white roses tied with red, white, and blue ribbon and titled To New York, Washington and anyone who lost someone today. “The only thing I felt entirely sure of was sadness, and compassion for those who lost their lives and loved ones.”

“I wanted to put flowers on a sidewalk memorial,” said Roberts of her quilt, which is one of more than 150 in the  9/11 Memorial Museum’s collection. “To remember the dead and comfort the living.”

This quilt depicts a bouquet of white roses tied together with a red, white, and blue ribbon. The backing fabric is gray to represent the sidewalk, and the white patch in the center is a note with text: "To New York, Washington, and anyone who has lost someone today."

To New York, Washington and anyone who lost someone today. Collection 9/11 Memorial Museum, Gift of Drunell Levinson and of the contributors to the September 11 Quilts Memorial Exhibition. Photo by Drunell Levinson. 

Highly skilled fabric artists and talented novices inexperienced with needle and thread alike turned to making quilts as a way of expressing condolence, patriotism, and solidarity. As in prior times of national upheaval, including during the Civil War era and AIDS epidemic, designers of 9/11-inspired quilts drew upon patriotic motifs, religious symbols, victims’ names and faces, and images that became emblematic of the attacks and their aftermath.

  • Handmade textile quilt depicts the Twin Towers at center, ghostlike in their transparency. The crowned head of the Statue of Liberty is represented in the lower left corner of the quilt, and from it white doves and yellow stars emanate. These images are set against waves of red, white, and blue.
  • Quilt made with fabric, batting, thread, and buttons and beads. The quilt is a vivid blue fabric with a pattern resembling clouds. Small beads and buttons add a shimmering element.
  • Quilt made with fabric, batting, and thread. This quilt has the Twin Towers depicted with bright silver fabric against earth tones and green patterned fabric. The figure of a faceless woman with wild hair and eyes stands behind the towers. Soft circular orbs dot the entire quilt.

Left: Spirits Rising II (2001). Collection 9/11 Memorial Museum, Gift of Betsy Shannon, Minneapolis, MN. Photo by Michael Hnatov. Center: Broken Hearted. Collection 9/11 Memorial Museum, Gift of Drunell Levinson and of the contributors to the September 11 Quilts Memorial Exhibition. Photo by Drunell Levinson. Right: Fragile. Collection 9/11 Memorial Museum, Gift of Drunell Levinson and of the contributors to the September 11 Quilts Memorial Exhibition. Photo by Drunell Levinson.

Quilt makers also turned to the architecture of the Twin Towers and the Pentagon, and to the day’s memorable blue sky. Some quilts in the collection depict angels or abstract protective beings comforting all who were lost. For 9/11 family members who made quilts in remembrance of loved ones, and those who received such memorial gestures from strangers, the quilts offered comfort, healing, and warmth.

Handmade textile quilt created from uniforms worn by flight attendants, pilots, first officers, and customer service representatives of United Airlines. The quilt features the United Airlines crest with wings, epaulets from the pilot uniform, the United Airlines logo, and red stars. At the quilt’s center, hand-embroidered script reads: "In Loving memory of United Flight 175 | September 11, 2001," followed by the names of all 11 United Airlines employees on board Flight 175 that morning.

Remembering Our Heroes United Airlines Flight 175 Memorial Quilt. Collection 9/11 Memorial Museum, Gift of the Association of Flight Attendants - CWA, AFL-CIO members Andrea Jones, Patrice Richardson, Jennifer Workman Golden and other United Airlines colleagues. Photo by Matt Flynn.

Remembering Our Heroes United Airlines Flight 175 Memorial Quilt is one of eight quilts made by colleagues of the seven crew members killed aboard the Boston-departed, hijacked Flight 175. Fabricated from bits and pieces of airline uniforms, each of the first seven quilts honors and memorializes a single victim; the quilt donated to the Museum memorializes all of the flight professionals lost when Flight 175 crashed into the South Tower. 

Today we are witnessing a new wave of compassion and support for responders and victims of another devasting tragedy. Some 9/11 quilters have already turned their sewing skills to the needs of COVID-19 frontline responders. Since mid-March, Sarah Roberts, for example, has sewed 444 face masks from fabric she had collected over the years and sent them to Chestnut Hill Hospital in Philadelphia. Not surprisingly, Roberts is saving fabric scraps from her face mask project in anticipation of making a quilt reflecting her thoughts and feelings about the current pandemic. It’s likely that she will not be alone in turning to the centuries-old medium of the quilt as a gesture of condolence to the families of those who have died from the disease and gratitude to responders and other essential workers. Quilts included in the 9/11 Memorial Museum’s permanent collection may offer inspiration to a new generation of quilters. Their message of comfort and compassion is timeless. A selection of illustrative images of those quilts may be found on Inside the Collection.

By Amy Weinstein, Senior Curator of Oral History & Vice President of Collections, 9/11 Memorial & Museum

Ground Zero Flag Endures as a Symbol of Hope and Rebuilding

Ground Zero Flag Endures as a Symbol of Hope and Rebuilding

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The Ground Zero flag on view in the 9/11 Memorial Museum's historical exhibition. Photo by 9/11 Memorial staff.

On the evening of September 11, 2001, three firefighters hoisted an American flag above the scorched ruins and persistent fires of the World Trade Center site, an iconic moment captured in an enduring image by Thomas E. Franklin, a photographer formerly affiliated with The Record of Bergen County, New Jersey. 

The photo of the flag-raising came to symbolize the fortitude of first responders and became a symbol of hope and rebuilding in the aftermath of the terrorist attacks. But soon after its raising, the flag, which had been taken from a yacht moored at a nearby dock, disappeared from Ground Zero. 

New York City officials tried to track it down, but the flag’s whereabouts were unknown until late 2014, according to the New York Times. After the mystery of the missing flag had been featured on a program on H2, a spinoff of the History Channel, a former Marine, who viewed the program, dropped off the flag at a fire station in Everett, Washington.

With the help of the flag’s original owner, Shirley Dreifus, in honor of her late husband Spiros E. Kopelakis, and in cooperation with Chubb, the global insurance company, the iconic flag was donated to the Museum in 2016. The authenticity of the flag was determined through a months-long forensic investigation.

“In the darkest hours of 9/11 when our country was at risk of losing all hope, the raising of this American flag by our first responders helped reaffirm that the nation would endure, would recover and rebuild, that we would always remember and honor all of those who lost their lives and risk their own to save others,” said former 9/11 Memorial President Joe Daniels. “We had always hoped this special flag and its story would be shared with our millions of annual visitors coming from around the world, and for that, we are thankful to Shirley Dreifus, the city of Everett, HISTORY, A+E Networks, and Chubb.”

Since its opening in 2014, the Museum displayed a large photograph of the three firefighters lifting the flag above the rubble as part of its historical exhibition

By 9/11 Memorial Staff
 

Food for the Soul: The Restaurants of Ground Zero

Food for the Soul: The Restaurants of Ground Zero

In this archival photo, rescue and recovery workers sit for a meal or line up to get their food in an informal restaurant with a green tarp for a door.
Green Tarp Restaurant, Photograph by Marry Kim

On September 13, 2001, Antonio “Nino” Vendome opened his family’s New York City restaurant, Nino’s, to a new clientele.

Before the 9/11 attacks, the Italian eatery on Canal Street served a couple hundred lunches and dinners a day to Manhattan diners. Only 48 hours after the attacks, however, Nino’s had a different mission. The restaurant, located a mile from Ground Zero, transformed into an around-the-clock operation, providing weary rescue and recovery workers with thousands of hot meals every day.

Over the course of the next nine months, Nino Vendome, his family, and an army of volunteers would serve more than 500,000 meals to the police officers, firefighters, military personnel, sanitation workers, ironworkers, laborers, and countless others working at Ground Zero. Children’s drawings and thank-you cards papered the walls of the restaurant, offering gratitude and encouragement. Volunteers included local residents and victims’ friends and family members, along with beauty pageant queens, professional athletes, and famous actors.

A white apron covered in 34 uniform patches representing a variety of rescue and recovery agencies at Ground Zero. "Nino's Restaurant" is printed at the top of the aprong and "America's Kitchen" at the bottom.
Collection 9/11 Memorial Museum, Gift of Antonio "Nino" Vendome

As a token of gratitude to the Nino’s staff and volunteers, law enforcement officers, firefighters, and workers left behind patches and pins with their department or union logos. Nino Vendome’s mother, Giuseppa, attached the patches to chefs’ aprons, which she later displayed behind the bar counter.

Nino’s wasn’t the only restaurant to offer hospitality to the Ground Zero workforce. Across the city, chefs, charitable organizations, and volunteers with a zest for cooking answered the call to help their fellow New Yorkers, joining together as a community to share food for both body and soul.

Albert Capsouto—owner of the Tribeca restaurant Capsouto Frères—served free lunches and dinners and weekend brunches during the recovery period, with their famous eggs Benedict a particular favorite. “We decided to make our restaurant an anchor of the neighborhood,” Capsouto said. “And we served food to whoever was there—either rescue workers, utility people, firemen, policemen. Anybody with a uniform, anybody without a uniform. Neighbors.”

Ruth Reichl, chef and editor in chief of Gourmet, called on staff to join her at the magazine’s test kitchens in Times Square in the days after the 9/11 attacks. Reichl arrived to find the kitchens full of colleagues with their friends and families, bearing groceries and ready to help. They cooked chili, cornbread, lasagna, and brownies, packed the food into coolers, and delivered it straight to the World Trade Center site. “We were attempting to snatch hope from the rubble of our broken city,” Reichl would write years later, “and food was the perfect way to do it.”

This photo shows a plywood shack in the middle of Ground Zero with a sign reading "Hard Hat Cafe" affixed to the outside.
Hard Hat Cafe, Photograph by Jonathan Corum

Other improvised restaurants sprung up in unlikely places. In an abandoned storefront on Liberty Street, award-winning restauranteur David Bouley worked with the American Red Cross to create the Green Tarp Café, named for the green tarpaulin draped over its broken windows. Workers could also find respite at a massive Salvation Army tent, nicknamed the Taj Mahal, or grab coffee and soup at a makeshift wooden hut inside Ground Zero that they called the Hard Hat Café.

As Albert Capsouto would later note, the “social nourishment” that these restaurants and pop-up cafeterias offered was often just as important as “feeding an appetite.” Providing fellowship, conversation, and a place to relax—as well as hot meals—the chefs, restaurant owners, and thousands of volunteers who served the Ground Zero workforce did more than fill bellies. They lifted spirits.

By Isabela Morales, Manager of Exhibition Development, 9/11 Memorial & Museum

Brooklyn Yard Sign Symbolizes Hunt for Bin Laden

Brooklyn Yard Sign Symbolizes Hunt for Bin Laden

A visitor peers into a glass wall case containing a homemade sign that reads, "9 years 232 days since 9-11-01 Where Is Osama bin Laden?" in the museum exhibition "Revealed: The Hunt for Bin Laden."
Photo by Jin S. Lee

On this day in 2011, Osama bin Laden was killed by U.S. forces in a raid of his compound in Abbottabad, Pakistan. The 9/11 Memorial Museum collection is home to several artifacts related to this event, including the artifact described below, which is currently on view in the special exhibition Revealed: The Hunt for Bin Laden.

Today at 2 p.m. EST, the 9/11 Memorial & Museum will host a conversation between Robert Cardillo, former director of the National Geospatial-Intelligence Agency, and Cliff Chanin, Executive Vice President and Deputy Director for Museum Programs, about the nearly decade-long pursuit of bin Laden.

On May 1, 2011, news of the death of Osama bin Laden quickly made its way across the world. Hours after a special team of U.S. Navy SEALs located and eliminated bin Laden, President Barack Obama addressed the nation and people gathered to celebrate in Times Square.

A few miles away in the Red Hook neighborhood of Brooklyn, artist Cheryl Stewart had a sign in her front yard that read, “Where is Osama bin Laden?” A tally on the sign counted the number of days the world’s most elusive terrorist remained free.

Stewart had witnessed the attack on the Twin Towers from the roof of her Brooklyn home. She remembered seeing the plume of black smoke rising above lower Manhattan and into Brooklyn. After the towers fell, she feared for the future of New York's invincible spirit and was worried the city lay vulnerable to further terrorist attacks.

Stewart put up the sign in 2003 as a form of silent protest. She was frustrated that efforts to locate and apprehend bin Laden faltered while the Iraq War raged on. She got the idea for the sign from tabloid coverage of the 1979 Iranian hostage crisis, which included a counter clock that had reached 444 days before those 52 U.S. citizens were finally released.

By the time bin Laden was killed in Pakistan in 2011, Stewart’s sign read: “9 years 232 days since 9-11-01.” Sometime after midnight on the night of bin Laden’s death, a passerby scrawled “dead” on a piece of torn yellow notebook paper and taped it to the sign, answering the years-long question about the terrorist’s whereabouts.

That month Stewart took down the sign and donated it to the 9/11 Memorial Museum. It was the Museum’s first artifact symbolizing the historic milestone of bin Laden’s capture and death.

By 9/11 Memorial Staff

After 9/11, a Banner of Compassion from a Group of Fourth-Grade Students

After 9/11, a Banner of Compassion from a Group of Fourth-Grade Students

A vibrantly colored children's mural featuring patriotic imagery hangs against a stone wall in the Museum's Tribute Walk gallery.
Collection 9/11 Memorial Museum, Gift of Lawrence Knafo

As many around the country grappled with the tragic aftermath of 9/11, one art teacher, Sarah Orvin, sought to respond through a group project with her students.

After seeing her students struggle with the tragedy, Orvin asked her class of fourth graders from the Porter Gaud Lower School in Charleston, South Carolina, to draw pictures and write patriotic messages to help themselves heal. Their creations included images of the attack sites prior to 9/11, poignant notes to first responders inscribed in brightly colored hearts, and patriotic symbols like the American flag and the Statue of Liberty. The students’ drawings and messages were then copied and painted onto a large canvas banner.

  • Detail shot of the children's mural, featuring multicolored hearts and people singing
  • Detail shot of the children's mural, featuring first responders before a yellow sky
  • Detail shot of the children's mural, featuring the Twin Towers against an American flag background
  • Detail shot of the children's mural, featuring an American flag and patriotic messages
Detail shots of the mural

Orvin, wanting to share her students’ compassionate creation, sent the banner hundreds of miles away to the office of Rudy Giuliani, then-mayor of New York City, but did not learn about the banner’s final whereabouts until much later. As Orvin was told by a 9/11 Memorial & Museum employee years later, the banner ultimately hung in the children’s play area of the Family Assistance Center, a space that provided support for the family members of 9/11 victims in New York. After the Center closed, a city worker found the banner and eventually donated it to the 9/11 Memorial & Museum.

For years, the banner hung in Tribute Walk, an area in the Museum dedicated to artwork and objects created in remembrance of 9/11 by artists and ordinary people alike. While any museumgoer could gaze at the banner, it was an important piece to view for one group in particular: young students participating in guided school programs at the Museum. Countless third, fourth, and fifth graders have intently studied the banner created by children who were their age in 2001. Again and again, today’s students have remarked upon the love, compassion, and hope shown by even the youngest of Americans after the attacks.

By Molly DePippo, Education Specialist, 9/11 Memorial & Museum

The Story Behind the Iconic Post-9/11 “I Heart New York More Than Ever” Logo

The Story Behind the Iconic Post-9/11 “I Heart New York More Than Ever” Logo

The "I Heart NY More Than Ever" poster hangs in the 9/11 Memorial Museum's historical exhibition gallery.
I Heart NY More Than Ever Poster displayed in the 9/11 Memorial & Museum's historical exhibition. Gift of Milton Glaser.

It’s a beloved image for New Yorkers, but even those not lucky enough to call New York City home are probably familiar with the iconic “I Heart NY” logo. In the 1970s, graphic designer Milton Glaser designed the ubiquitous logo for a tourism campaign. The message resonated with New Yorkers and people from around the world. It was a love letter to New York, a city unlike any other in the world. The simple message soon started to appear on souvenirs T-shirts, coffee mugs, postcards, and more.

In the wake of the attacks of September 11, 2001, Glaser added the words “more than ever” and a bruised heart to the logo. In the weeks following the attacks, Glaser’s students from the School of Visual Arts hand-distributed copies of the poster throughout the city. Plastered on store fronts and in doorways, the message expressed New Yorkers deep feeling about the city and its denizens.

New York City has faced enormous challenges before, and if past events are any indication, the city will endure in the face of this latest adversity.

More than a poster, “I Heart NY More Than Ever” represents the love and pride we feel for New York City. Glaser’s message extends beyond our city limits and is a symbol of our nation’s determination and resilience, now and then.

By 9/11 Memorial & Museum Staff

Hardhat Tells the Story of Medical Professionals at Ground Zero

Hardhat Tells the Story of Medical Professionals at Ground Zero

A children's illustration thanks doctors who volunteered at Ground Zero following the 9/11 attacks.
Collection 9/11 Memorial Museum, A gift from the American Red Cross

Look for the helpers. You will always find people who are helping.” – Mister Rogers

One of the first donations to the nascent 9/11 Memorial Museum in 2006 was a collection acquired from the American Red Cross September 11 Recovery Program, which consisted of hundreds of drawings and cards made by children. Many suggest the guidance of Mister Rogers (Fred Rogers; 1928–2003), the beloved television personality who advised young people to always “look for the helpers,” in times of trouble. Accordingly, these artworks saluting the helpers of 9/11—often addressed to “Dear Heroes”—are populated with a familiar cast of firefighters, police officers, and construction workers, as well as doctors, nurses, and Red Cross volunteers.

But what if the helper isn’t identifiable through a uniform or another visible cue identifying him or her as a responder? This was the problem Dr. Todd Wider confronted as he neared Ground Zero on the afternoon of September 11.

A specialist in complicated reconstructive surgery, Dr. Wider divided his time between a busy practice in plastic surgery on Fifth Avenue and Roosevelt Hospital (now Mt. Sinai West) on the Upper West Side, where he was an attending physician.

Still at home when he overheard a CNN report about a plane crashing into one of the Twin Towers, Wilder initially assumed that “some jackass flew his Cessna into the building,” according to an account he wrote about his fateful day, contributed to the Museum. Continuing to glance at the live news coverage from the World Trade Center, he was shocked, minutes later, to witness a second aircraft torpedoing through the South Tower. A message began scrolling across the bottom of his television screen declaring a state of emergency in New York City and requesting all medical personnel to report to their respective hospitals.

Slipping on hospital scrubs, a sweatshirt, and a lab coat, Dr. Wider raced across town to Roosevelt Hospital. Along with 50 to 60 other doctors, nurses, and medical technicians converging at the emergency entrance on 10th Avenue and 58th Street, he stood vigil outside, preparing to assess and treat injured survivors arriving by ambulance. Gurneys stood ready. The hospital’s operating rooms were prepped. Intense triage activity would soon be underway.

As the morning wore on, however, the caseload of patients failed to appear. Rumors began to circulate about various biohazardous threats, suspected truck bombs, and hospitals as the next terrorist targets. As dust-covered evacuees appeared from downtown, seeking rest on the benches and grass outside the hospital, Dr. Wider found a bullhorn and instructed them to head toward the river or into the city parks, away from any conspicuous landmarks.

By the early afternoon, only a few survivors with minor burns had cycled through Roosevelt’s emergency room. In a doctors’ lounge, Dr. Wider caught up with the day’s continuing televised coverage, which is how he learned about the third and fourth hijacked aircraft and their deadly crashes into the Pentagon and a remote field in western Pennsylvania. “We were in a new kind of war,” he thought.

Having previously performed surgery under challenging conditions in Nepal and Guatemala—at times, operating by flashlight—and with a decade’s experience treating gunshot and drug violence victims at the triage center of another large Manhattan-based hospital complex, Dr. Wider felt primed to respond to the casualties of the terror attack in lower Manhattan.

But staying uptown held decreasing promise for putting his skills into action. He made an independent decision to redeploy downtown and retrieved his car from the hospital’s parking lot, hoping that his MD license plates would expedite his ride south down the West Side Highway. After clearing several checkpoints, he briefly stopped at Chelsea Piers, designated as a treatment hub for volunteers with medical skills. Encountering more doctors and nurses awaiting instructions rather than injured arrivals, he left the Piers determined to maneuver his way closer to the disaster scene.

Abandoning his car a few blocks north of the Trade Center, Dr. Wider emerged from the vehicle into a landscape of gray ash, smoke, and debris—a startling shift from the sun-soaked locale uptown he had exited earlier. He made his way to a newly established triage center at Stuyvesant High School where he encountered several other medical professionals, included a surgeon who had been a former junior resident under his tutelage. There was little traffic through the school, however, fueling Dr. Wider’s restlessness. Assuming that anyone pulled from the rubble alive would need first aid, he headed outside toward the 16-acre war zone. Later, he would compare what he encountered to “a surreal science fiction movie… as if some giant, fire-breathing monster had march through downtown, laying waste to everything in sight.”

Plastic hard hat with cap-style brim and interior suspension. The hard hat is yellow with a red cross on the front created with duct tape. The hard hat is slightly dusty.

Plastic hard hat with cap-style brim and interior suspension. The hard hat is yellow with a red cross on the front created with duct tape. The hard hat is slightly dusty.
Collection 9/11 Memorial Museum, Gift of Todd Wider

He saw few masks in use, and no goggles. But someone handed him a plastic yellow hard hat—the sole piece of protective equipment he was fortunate enough to acquire. With skills to offer other than cutting steel or dousing fires, and with poor visibility and acoustics to contend with, Dr. Wider grasped the imperative to announce himself as a qualified physician. Necessity required inventiveness. Remarkably, a roll of red duct tape materialized. With two quick tears, he improvised the universal “red cross” symbol above the hat’s brim.

Dr. Wider remained at the edge of the collapse pile all night and through mid-morning Wednesday, flushing out eyes, dressing cuts, administering IVs, and distributing water to the exhausted rescue personnel. As he backtracked out of the Frozen Zone, reporters flocked to him, asking about the conditions he had experienced. Wearing his improvised medical helmet, he stated emphatically that rescuers on frontlines required better masks, respirators, goggles—and more ophthalmologists.

Todd Wider’s brief but intense experience at Ground Zero humbled him. Newly appreciating fate’s unpredictable workings, he became inspired to explore personal interests other than medicine, including producing documentary films probing humanitarian issues. In 2016, he decided to donate his providential helmet to the 9/11 Memorial Museum. By doing so, he wished to acknowledge all the resourceful volunteers—including trained medical personnel—who had answered the call at the World Trade Center site in the awful aftermath of 9/11 and to commemorate the influence of this pivotal interaction on his own journey forward, seeking purpose by helping others.

By Jan Seidler Ramirez, Executive Vice President of Collections & Chief Curator, 9/11 Memorial & Museum

“The Stories They Tell” Video Series Lends History and Humanity to Museum Artifacts

“The Stories They Tell” Video Series Lends History and Humanity to Museum Artifacts

FDNY Ladder 3's truck, partially crushed, sits on display in the 9/11 Memorial Museum.
Photo by Jin S. Lee

The 9/11 Memorial Museum’s artifacts range in scale from the monumental, like a partially crushed firetruck, to the ephemeral, like an answering machine message left for a loved one. No matter the object’s size, each item is steeped in history and rich with humanity.

The Museum’s “The Stories They Tell” video series provides a way to learn more about the Museum’s artifacts by hearing directly from the family members, survivors, first responders, and recovery workers connected to those objects. In each video, these individuals discuss the personal 9/11 history they are helping to preserve through the material they have shared.

In the video below, Carolyn Brown, sister of FDNY Capt. Patrick Brown of Ladder 3, shares the recording of her brother’s final dispatch call from the 35th floor of the North Tower.

By 9/11 Memorial Staff

Artifacts in Museum Collection Commemorate the Irish Heritage of 9/11 Victims

Artifacts in Museum Collection Commemorate the Irish Heritage of 9/11 Victims

A mug belonging to FDNY Lieutenant Joseph Leavey is displayed on a gray surface at the museum. The white mug is adorned with green shamrocks. The word "himself" is printed in green on the mug. Leavey's name has been written in green marker on the lip of the cup.
Joseph Leavey's mug.

The 2,977 people killed in the 9/11 attacks came from a wide range of backgrounds. On this St. Patrick’s Day, even as we are temporarily closed, we remember several people who celebrated their Irish heritage in personal objects they owned or whose loved ones memorialized them with Irish-referencing tribute items.

A quilt paying tribute to FDNY Captain Brian Hickey features a transfer photo of Hickey and various other ornamentation. The quilt also features embroidered shamrocks, hearts, and fire trucks.
The quilt created in memory of Brian Hickey.

Captain Brian C. Hickey Quilt

A quilt created by Gail Pickett and Ed Ziegler pays tribute to Battalion Chief Brian C. Hickey, a 20-year FDNY veteran and commander of Rescue 4 in Woodside. The quilt includes a photo transfer of Hickey, FDNY patches, and shamrocks celebrating his Irish heritage. Hickey, 48, was injured in a Queens fire several months before 9/11. He was killed responding on September 11, 2001, his second day back on the job.

A gold Irish Claddagh brooch belonging to Kathleen Moran is displayed on a gray surface. The jewelry includes emerald stones.
Kathleen Moran's gold Irish Claddagh brooch.

Kathleen Moran’s Irish Claddagh Brooch

A gold Irish Claddagh brooch with emerald stones that belonged to Kathleen Moran speaks to her Irish heritage. Moran came from a big Irish family from Bay Ridge, Brooklyn; Ireland was the home country of her parents. After 9/11, Moran’s family found the brooch in a jewelry box in her apartment. The box also included other small items precious to her, including Christmas ornaments, two golf balls, and a green velvet bag of tees. A property insurance underwriter for Zurich, Moran was at a meeting on the South Tower’s 105th floor on 9/11. She was 42 years old.

An embroidered memorial patch created in memory of FDNY firefighter George Cain depicts an illustration of a firefighter in bunker gear skiing in the snow. Two green shamrocks border the words Tower Ladder Seven.
A memorial patch honoring George Cain.

George C. Cain Memorial Patch

A patch created in memory of FDNY firefighter George C. Cain shows a firefighter in bunker gear skiing through snow. The green patch is adorned with several shamrocks. Before joining the FDNY in 1994, Cain spent five years working as a carpenter in Colorado, where he sought out some of the toughest ski runs to experience during the winter months. “He could ski like the wind,” his mother remembered. Cain was 35 when he was killed on 9/11.

A white memorial flag honoring Stephen Gerard Siller is displayed on a gray surface. The flag has a red border and the letters FDNY printed across the top of it. A shamrock and American flag border a Maltese cross at the center of the flag. .  On the left is a card for Blessed William Joseph Chaminade attached with a lapel pin.
A memorial flag paying tribute to Stephen Siller.

Memorial Flag for Stephen G. Siller

A memorial flag honoring FDNY firefighter Stephen G. Siller is embroidered with a green shamrock and a Maltese cross. A card for Blessed William Joseph Chaminade is attached with a lapel pin. Siller, 34, is remembered and celebrated for carrying 60 pounds of gear through the Brooklyn Battery Tunnel to reach the World Trade Center on 9/11—an act that inspired the Stephen Siller Tunnel to Towers 5K Run & Walk. The flag was preserved by Keith Piaseczny, the unofficial steward of the public viewing platform overlooking Ground Zero in the months after 9/11. Piaseczny curated numerous memorial items left by visitors, anticipating a permanent memorial or museum may someday be built to narrate the history of 9/11.

A metal memorial bracelet honoring Keith George Fairben. The bracelet features Fairben's name, as well as a green shamrock and a blue "star of life" paramedics symbol.
A metal memorial bracelet created in memory of Keith Fairben.

Memorial Bracelet for Keith G. Fairben

A bracelet remembering Keith G. Fairben features a green shamrock and a blue “Star of Life” paramedics symbol. Fairben was a New York Presbyterian Hospital paramedic who reached the World Trade Center minutes after the North Tower was struck. He was killed at the age of 24. This bracelet was acquired by Shelaine Petersen, who hand-wrote condolence letters to many family members who’d lost loved ones in the terrorist attacks. The families would send her thank you letters, prayer cards, and other items, like this bracelet, in return.

A mug belonging to FDNY Lieutenant Joseph Leavey is displayed on a gray surface at the museum. The white mug is adorned with green shamrocks. The word "himself" is printed in green on the mug. Leavey's name has been written in green marker on the lip of the cup.
Joseph Leavey's mug.

Joseph G. Leavey’s Mug

This mug that belonged to FDNY Lieutenant Joseph G. Leavey, who was assigned to Ladder 15 in lower Manhattan. It is adorned with green shamrocks and the word “himself” printed in green text. “Lt. Leavey” is handwritten at the top of the mug in green marker. A lover of skyscrapers, Leavey pursued a career in civil engineering before ultimately joining the FDNY in 1982. The Twin Towers were two of his favorite buildings on the New York skyline. Leavey was among the first firefighters to arrive at the towers on 9/11. He was 45.

A green glass shamrock in memory of FDNY Captain Martin Egan is displayed in a custom-made case with an Irish blessing a message of remembrance.
The glass shamrock and custom box made in memory of Martin Egan.

Glass Shamrock in Tribute to Martin J. Egan Jr.

This glass shamrock in a custom gift box was created in memory of FDNY Captain Martin J. Egan Jr. The outside of the box has an Irish blessing printed in gold text on the lid, while the inside of the box includes a printed message that includes the words: “On His First St. Patrick's Day In Heaven - March 17, 2002.” Egan, who joined the FDNY in 1986, was a member of the department’s Emerald Society, a fraternal organization for members of Irish heritage. “He enjoyed going out, especially on St. Patrick's Day. He always went to both the Staten Island and city parades,” his sister remembered. He was 36.

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