Quilt
Photo credit: Michael Hnatov
Accession Number: C.2008.863.1
Dimensions: 48.5 in X 38.5 in
Dimensions (Metric): 123.19 cm X 97.79 cm
Dimensions (Metric): 123.19 cm X 97.79 cm
Source: Charles Michael Clyne
Credit Line: A Gift of the Clyne Family
Description
Handmade memorial quilt given to the family of Susan Marie Clyne. The quilt is made with blue patterned fabric with 12 white quilt squares, each with an image transfer of a child's drawing or handwritten message. The quilt is framed.
Handmade memorial quilt given to the family of Susan Marie Clyne. The quilt is made with blue patterned fabric with 12 white quilt squares, each with an image transfer of a child's drawing or handwritten message. The quilt is framed.
Historical Notes
Born in Queens, Susan Clyne lived in Lindenhurst with her husband, Charlie, and their four children. A self-taught computer programmer, Susan earned degrees in law and business at night while working full time. On September 11, Susan was on the 96th floor of the North Tower, where she was a senior vice president at Marsh & McLennan. She was 42 years old.
Born in Queens, Susan Clyne lived in Lindenhurst with her husband, Charlie, and their four children. A self-taught computer programmer, Susan earned degrees in law and business at night while working full time. On September 11, Susan was on the 96th floor of the North Tower, where she was a senior vice president at Marsh & McLennan. She was 42 years old.
Curator's Comment
The terrorist attacks of September 11, 2001, ignited a global passion to provide aid and comfort. For those unable to participate in actual rescue and recovery efforts at the various disaster sites, quilting emerged as one practical and creative way to demonstrate compassion and support for 9/11 family members, responders, survivors, and others who were profoundly affected by the attacks.
Traditionally the outcome of either communal or solitary cutting, piecing, and sewing efforts, quilts are both functional and tactile expressions of their makers’ emotions, ideas, and materials at hand that could be recruited into meaningful service. Those drawn to making quilts in response to 9/11 frequently used patriotic motifs, religious symbols, and images that quickly became emblematic of the attacks, such as the Twin Towers, the 5-sided Pentagon, airplanes, and firefighting paraphernalia. Some quilts served as memorial gestures in honor of specific individuals or groups of coworkers who had been killed while also performing therapeutic and healing functions for those making them. Communication of the magnitude of human loss suffered on 9/11 and the event’s disproportionate impact on particular companies, agencies, towns, and colleges are other themes that emerged among quilters.
HIDE
The terrorist attacks of September 11, 2001, ignited a global passion to provide aid and comfort. For those unable to participate in actual rescue and recovery efforts at the various disaster sites, quilting emerged as one practical and creative way to demonstrate compassion and support for 9/11 family members, responders, survivors, and others who were profoundly affected by the attacks.
Traditionally the outcome of either communal or solitary cutting, piecing, and sewing efforts, quilts are both functional and tactile expressions of their makers’ emotions, ideas, and materials at hand that could be recruited into meaningful service. Those drawn to making quilts in response to 9/11 frequently used patriotic motifs, religious symbols, and images that quickly became emblematic of the attacks, such as the Twin Towers, the 5-sided Pentagon, airplanes, and firefighting paraphernalia. Some quilts served as memorial gestures in honor of specific individuals or groups of coworkers who had been killed while also performing therapeutic and healing functions for those making them. Communication of the magnitude of human loss suffered on 9/11 and the event’s disproportionate impact on particular companies, agencies, towns, and colleges are other themes that emerged among quilters.
HIDE
