Grapus, Henryk Tomazewski, and Tomi Ungerer: (Pictured in Victore’s studio, left to right.) “As a poster designer, these are my three strongest influences. Tomaszewski made art for the street, Ungerer used his work to fight against the war in Vietnam, and the French design studio Grapus injected its work with social and political themes — not to mention humor and poetry. I was probably 23 when I bought my first poster, a Lucien Bernhardt. It cost $300, and I think I didn’t eat for three weeks. But I stopped collecting a few years ago because underneath all the beds and in all the flat files are posters. I did an exhibition at SVA 14 years ago with my collection of Tomazewski posters, 80 in total, which is crazy. Since then I sold a huge chunk to an archivist. I still have 10 or 15, but the rest are gone. It’s a shame to keep them in a box under your bed.”
3 / 14

Grapus, Henryk Tomazewski, and Tomi Ungerer: (Pictured in Victore’s studio, left to right.) “As a poster designer, these are my three strongest influences. Tomaszewski made art for the street, Ungerer used his work to fight against the war in Vietnam, and the French design studio Grapus injected its work with social and political themes — not to mention humor and poetry. I was probably 23 when I bought my first poster, a Lucien Bernhardt. It cost $300, and I think I didn’t eat for three weeks. But I stopped collecting a few years ago because underneath all the beds and in all the flat files are posters. I did an exhibition at SVA 14 years ago with my collection of Tomazewski posters, 80 in total, which is crazy. Since then I sold a huge chunk to an archivist. I still have 10 or 15, but the rest are gone. It’s a shame to keep them in a box under your bed.”