Painting Was His First Love, But Poetry Got in the Way

SAN FRANCISCO — Few figures hold a more revered place in the heart of San Francisco than the late Lawrence Ferlinghetti. The renowned poet, publisher, editor, essayist, critic, and bookseller gained fame through pivotal milestones, such as his 1958 poetry collection Coney Island of the Mind, which has sold over a million copies. Ferlinghetti also made headlines when he was arrested on obscenity charges for publishing Allen Ginsberg’s groundbreaking work Howl, and he is celebrated for founding the iconic City Lights Bookstore. An intimate and beautifully curated exhibition at San Francisco’s Legion of Honor now highlights another facet of his legacy: his talent as a visual artist.

Ferlinghetti for San Francisco brings together a remarkable collection of lithographs, etchings, prints, broadsides, and letterpress books produced during the later stages of Ferlinghetti’s illustrious career. The 25 works on display derive from the Achenbach Foundation for the Graphic Arts, with many pieces generously donated by his estate posthumously.

While Ferlinghetti often expressed that painting was his first passion, poetry consistently emerged in his life. It is no surprise that this exhibition by a literary figure is strongly focused on prints and paper-based works. As a pioneer of City Lights, which was established as the country’s first all-paperback bookstore, his affinity for print and the printed page resonates throughout this showcase. Indeed, Ferlinghetti for San Francisco serves as a love letter to the boundless potential of paper, provoking intriguing inquiries about the boundaries and interrelations between “reading” and “seeing.”

In works like “The Human” (2012), letters, graphemes, and hieroglyphics assert themselves as central themes. The human faces depicted, despite being larger in scale, paradoxically recede into the background, suggesting that the essence of being human is rooted in our capacity to communicate through language. This work implies that humanity is characterized by the marks we create and the stories we tell.

Throughout pieces such as “And He Was Part of the Sea” (1998) and “Far Out On the Lake a Dark Boat Drifts” (1993/2020), text intertwines with imagery in unexpected ways. Words, boldly inscribed above the visuals, simultaneously function as part of the artwork. This interplay invites viewers to approach the experience as one that involves both reading and seeing in concert, resembling the dynamic engagement one might find in comics or advertising—where reading itself becomes a visual encounter.

Among the standout pieces in this exhibition is “Allen Allen” (2000), which excels at balancing the competing elements of text and image. Here, a poem by Edward Sanders pays homage to Ginsberg while simultaneously becoming Ferlinghetti’s artistic canvas, creating a dual tribute. Both Allens – the photograph and Ferlinghetti’s artwork – complement rather than compete with one another. The image seemingly springs to life from the text, giving it a transcendental quality.

A notable aspect of the exhibition is its focus on collaboration, symbolizing Ferlinghetti’s inclusive spirit throughout his life. An example of this is Endless Life, a collection of ten drypoint and aquatint prints by Bay Area artist Stephanie Peek, paired with Ferlinghetti’s succinct poetic verses. Peek’s intricate, shadowy representations of either celestial bodies or birds in motion evoke the aesthetics of Japanese woodblock prints, harmonizing beautifully with the simplicity of Ferlinghetti’s text.

As a distinguished ambassador of contemporary American poetry, Ferlinghetti’s humility was evident in conversations; he often deflected attention to discuss the works of other poets instead of his own. This lack of ego shines through in the exhibition, which serves as a fitting celebration of his generous nature and expansive outlook on art and literature. Ferlinghetti would undoubtedly appreciate and resonate with every aspect of this tribute.

Ferlinghetti for San Francisco continues at the Legion of Honor (100 34th Avenue, San Francisco, California) through July 19, 2026. The exhibition was curated by Natalia Lauricella and Mauro Aprile Zanetti.