memory
13 January 2007 | 3,000
Ghost Bikes
Last week, the New York Times ran a sober photo essay on the ghost bikes that Visual Resistance and Time’s Up! have been installing around New York City since June 2005. The bikes are public interventions, a grassroots action in the spirit of graffiti memorial walls. The bikes are painted white and chained near the site where a cyclist was killed by an automobile, along with a plaque with their name and the date they were killed. Several are plotted on this map.
The bikes were inspired by a similar project in St. Louis, and have since appeared in cities across the U.S. and the U.K.
A 2005 report on bicycle fatalities from the New York City police, parks, health, and transportation departments reports that between 1996 and 2005, 225 bicyclists were killed in crashes with motor vehicles. Between 1996 and 2003, 3,462 NYC bicyclists were seriously injured in crashes.While the annual number of serious injuries has decreased, deaths remained steady during the 10-year period.
The statistics show a failure of urban design and policy — 89% of crashes occurred at or near intersections, 92% of bicyclist fatalities resulted from crashes with motor vehicles — as well as the absence of personal equipment: 97% of the bicyclists who died were not wearing a helmet. 74% of the fatal crashes involved a head injury.
While it’s clear that helmets save lives, something else is broken in NYC: of the 3,964 transportation-related deaths in New York City between 1996 and 2005, only 6% were cyclists. Almost half the deaths (49%) were pedestrians.
“A persistent symbol of resistance and unity, the clenched fist (or raised fist) is part of the broader genre of ‘hand’ symbols that include the peace ‘V,’ the forward-thrust-fist, and the clasped hands. The clenched fist usually appears in full frontal display showing all fingers and is occasionally integrated with other images such as a peace symbol or tool.... Fists, in some form, were used in numerous political graphic genres, including the French and Soviet revolutions and the United States Communist Party. However, these all followed an iconographic convention. The fist was always part of something — holding a tool or other symbol, part of an arm or human figure, or shown in action (smashing, etc.). But graphic artists from the New Left changed that in 1968, with an entirely new treatment. This ‘new’ fist stood out with its stark simplicity, coupled with an popularly understood meaning of rebellion and militance.” (via)
