What the work is
A body of hand-crafted political posters, including the 1993 ‘Racism’ poster made in response to the Crown Heights race riots.
How it was made
Victore made political posters by hand, using hand-painted lettering and loose handwriting. He co-founded the collective ‘Post No Bills’ in 1992 to produce posters for the US Presidential election.
Post No Bills was a design group, formed with the graphic designers John Gall, Leah Lococo, Morris Taub, Susan Walsh and Steven Brower, to make political posters ahead of the 1992 election. The ‘Racism’ poster followed in 1993, in response to the race riots in Crown Heights, Brooklyn, and became one of his most famous works.
Victore was born in 1962 and grew up on an air force base in Plattsburgh, New York, the child of a career airman and a college librarian. He studied at Plattsburgh State College for a year, then dropped out and moved to New York City to attend SVA. He did not graduate from SVA either and considers himself self-taught. His early jobs included designing restaurant menus, greeting cards, and CD and book covers, and he apprenticed for the book cover designer Paul Bacon.
What works
The method establishes immediacy: hand-painted lettering and loose handwriting reject polished neutrality. The ‘Racism’ poster entered MoMA and Denver Art Museum collections — evidence that its formal and political directness registered institutionally.
His posters are held in the permanent collections of several museums: the Museum of Modern Art in New York, the Palais du Louvre in Paris, the Library of Congress in Washington, the Museum für Gestaltung in Zurich and the Stedelijk Museum in Amsterdam. Victore has also taught at SVA and has written a number of books on graphic design.
What does not
The material does not establish any use of photography, typography software, grid systems, client briefs, commercial distribution, or mass printing. It does not describe scale, substrate, edition size, or display context beyond poster form.
What it influenced
The material does not state what the work influenced. No successors, movements, campaigns, pedagogical shifts or derivative works are named or implied.
Is it worth your time
Yes — it is worth your time if you need to understand how graphic design can operate as urgent, materially direct political speech without digital mediation or institutional commission.
