Installation view of Ferlinghetti for San Francisco, Legion of Honor, 2025. Photograph by Jorge Bachman. https://www.famsf.org/exhibitions/ferlinghetti-san-francisco.)

By Chris Buck

I visited “Ferlinghetti for San Francisco” at The Reva and David Logan Gallery of Illustrated Books at the Legion of Honor on its opening day, July 19, 2025. I went with my family because for us, Ferlinghetti is a family affair. When I moved from New York City to San Francisco in 1996, it was for three reasons: City Lights, Lawrence Ferlinghetti, and the redwoods. I met Lawrence in 2019 when San Francisco Public Works planted an olive tree in North Beach in honor of his 100th birthday, which as the City’s Urban Forester, had long been a dream of mine. I purchased his pickup truck and later worked with the estate to archive his vast book collection; additionally, my wife Sarah Stangle has helped curate exhibitions of Ferlinghetti’s works. We’ve become good friends with Lawrence’s son Lorenzo, who is also an Arborist, and have spent time with his grandchildren. So going to see this exhibition felt very personal and seeing Ferlinghetti’s books and works on paper behind glass in an almost rarified presentation, having handled so many similar works in our own home, underscored the privilege we’ve had to be so close to his persona and spirit.

The Legion of Honor is on a breathtakingly beautiful edge of San Francisco with views to the Golden Gate, the Marin coast, glimpses of skyscrapers towards downtown, and beyond the long, narrow parking lot lined with Monterey cypress trees, the view of the Pacific Ocean disappears into the summer fog, no horizon. In so many ways it's quintessentially a San Francisco location that matches so many of Ferlinghetti’s own interests: the outdoors, San Francisco’s iconography, and proximity to the sea.

As you pass through the gateway into the museum’s open plaza, we are greeted by Auguste Rodin’s “The Thinker” which is a seminal sculpture depicting a man in deep thought, likewise germane to Ferlinghetti’s long association with France and as an important 20th century thinker of social and cultural matters. I always experience this transitional space, which is an architectural replica of the French Pavilion at the 1915 Panama-Pacific International Exposition, as the buffer it was intended to be – to scrub away the outside world and heed the sculpture’s message: think.

The Ferlinghetti exhibit is presented in the special chamber on the lower level that showcases the works held within the The Reva and David Logan Gallery. To reach the display it’s as if you are winding your way to the heart of the pyramid, using a secret handshake, and finally entering the club within the club. The exhibit was curated by Natalia Lauricella and Mauro Aprile Zanetti. Natalia Lauricella is the Curator of Prints and Drawings, Achenbach Foundation for Graphic Arts for the Fine Arts Museums of San Francisco and Mauro Aprile Zanetti is one of Ferlinghetti’s final collaborators. The exhibit is also supported by the Instituto Italiano di Cultura, San Francisco.

The Legion of Honor’s website includes two insightful contributions from Mauro Aprile Zanetti, who was critical in seeing Ferlinghetti’s novel Little Boy published the same month that the author turned 100 in 2019. Lawrence Ferlinghetti’s Life + Legacy and Living Poetry: My time with Lawrence Ferlinghetti in San Francisco are both must-reads. One particularly noteworthy feature is getting to hear Lawrence’s own voice, reading “The Changing Light” which was recorded by Jim McKee of Earwax Productions, via a barcode scan.

The museum’s description of this exhibit offers the curatorial intention linking it closely with Ferlinghetti’s own cultural activities:

“This exhibition explores the artistic practice of one of San Francisco’s most beloved and significant cultural figures: Lawrence Ferlinghetti (1919–2021). A poet, activist, publisher, and cofounder of City Lights Bookstore, Ferlinghetti was also an avid painter, draftsman, and printmaker. His work across mediums — often figurative with nautical motifs — frequently combines image and text to delve into themes of isolation, violence, and human resilience. . . This exhibition showcases Ferlinghetti’s dynamic work in printmaking, including etching, lithography, and letterpress.”

It is impossible to consider Lawrence Ferlinghetti’s art work without also considering his activity as a poet and cultural figure. Ferlinghetti has stated that he chose painting, but poetry chose him, and that over the years the words just kept coming. What is not as well-known is that he never stopped working at painting, drawing, etching, or collaborating with other artists with print making and other artistic outputs and mediums. In addition to being a painter most of his life, he was always drawing, or said another way, never not drawing. The surface he chose medium-wise, and how it was produced, was ever-changing.

Tool of the trade. One of Lawrence Ferlinghetti’s paint brushes from his studio at Hunters Point Shipyard. Shot on the blue background of his honorary degree from University of North Carolina at Chapel Hill. Photo: Sarah Stangle.

"I wanted to be a painter but from the age of ten onward these damn poems kept coming. Perhaps one of these days they will leave me alone and I can get back to painting”.

Though more widely known for his poetry and as a co-founder of City Lights Bookstore & Publishers, Ferlinghetti was painting in Paris while pursuing his Ph.D at the Sorbonne. His thesis written in French was titled “The City as Symbol in Modern Poetry: In Search of a Metropolitan Tradition.” After leaving Paris for New York City with his doctorate from the Sorbonne, Ferlinghetti lived in New York City for a short time before moving to San Francisco. He took a train across the country and then a ferry brought him from Oakland to San Francisco’s Ferry Building at the foot of Market Street. Significantly, Ferlinghetti always was deeply rooted in contemplating the individual’s place within the urban city. The works exhibited spring from this principle concern and are informed by the specific locations in the city he is closely associated with; they permeate his work and their histories tell a story of his artistic development.

Ferlinghetti’s work as an artist has deep roots in post-WWII San Francisco. In the Audiffred Building, a block away from the Ferry Building, is, in an area known today as a place where movers and shakers dine at Boulevard restaurant, Ferlinghetti was one of many artists who had a studio in this historic building in the 1950s. It was built in 1889 and survived the 1906 earthquake and fire, and before artists and fellow bohemians took over the second floor, it served as offices for different maritime labor organizations, including the Industrial Workers of the World (IWW). The building was at the epicenter of historic strikes in 1901 and 1934, including the deadly 1934 San Francisco Waterfront Strike with violence breaking out on the streets surrounding the building. Due to the maritime & industrial labor history that took place both within the building and outside, it is on the U.S. National Register of Historic Places.

Other artists who rented studio space in the Audiffred included Elmer Bischoff, Howard Hack, Frank Lobdell, and Martin Snipper. One of the studio spaces that Ferlinghetti rented was previously the studio of Hassel Smith, and the same door to the studios of both artists has somehow survived and is on view at The Beat Museum in North Beach. In 1978 a fire gutted much of the Audiffred building but preservationists fought to have the building structure preserved and its historic status was secured.

Although Ferlinghetti no longer maintained a studio in the Audiffred at the time of the fire in 1978, while cataloging his private library after his death in 2021, among his many newspaper clippings I found the headline from the 1978 fire. It was a poignant moment: I had forgotten about the fire. Clearly he had not.

Ferlinghetti painting, inside his studio at the Audiffred Building at Embarcadero and Mission, San Francisco. Photo by Harry Redl.

The Audiffred is just one of many places Ferlinghetti was closely associated with. Ferlinghetti moved from the family house on Potrero Hill and their house in Bolinas following a divorce with his wife Selden Kirby Smith in the 1970s. He began renting an apartment in North Beach and would remain a renter in North Beach for the rest of his life. There are photos of Ferlinghetti painting in his North Beach flat taken by photographer Christoper Felver, which show that he had set up his painting studio right where he lived.

Ferlinghetti in his flat on Francisco St. Photo by Christopher Felver, 1982. 250 Francisco St., San Francisco.

In the early 1980s Ferlinghetti started renting an artist studio at the Hunters Point Naval Shipyard, which had been decommissioned by the Navy in 1974. Beating a path up and down San Francisco’s 3rd St., between North Beach and Bayview Hunters Point, he passed the birthplace of Jack London, the offices of Rolling Stone, the offices of Wired magazine, Might Magazine, the Hell’s Angels clubhouse in the Dogpatch, the corner where the Grateful Dead took their album cover for “Workingman’s Dead” on Evans Ave, hustled by the polluting smokestacks (now gone) along the Potrero Hill and Hunters Point waterfronts. He was a regular at The Ramp restaurant, on the waterfront, a table with friends, the midpoint between North Beach and Bayview Hunters Point. He met with friends outside the Shipyard at Dago Mary’s as well.

Photo caption: Ferlinghetti painting from a live model in his studio in Hunters Point Shipyard. Photo by Chris Felver. Ferlinghetti at the easel in his studio at Hunters Point Shipyard. Photo by Brian Fletcher for the New York Times.

What is significant about these biographical details is that Lawrence Ferlinghetti was always painting and drawing in specific places that rooted him to San Francisco. He methodically pursued his artistic practice. It wasn’t a hobby, it was a calling. As Mauro Aprile Zanetti expressed, “Lawrence Ferlinghetti was not a ‘Sunday painter,’ unless a week would be made of 7 Sundays.” There is a direct line from his time painting and pursuing his Ph.D at the Sorbonne in the heart of Paris, to the studio he rented at the Audiffred Building, to his studio in his North Beach flat, to the light-filled studio he rented in Building 101 at the Shipyard for 40+ years until his death in 2021. That line was created by brush and pen.

Lovers at Sea

One of the featured pieces in the exhibit is “Lovers at Sea,”which serves as the marquis image on the Legion of Honor’s website and in promotional materials about the exhibit. It is a handsome lithograph of two figures in a dory-like boat. Are they lost? Are they in danger? Are they just in love? Nautical themes and subjects adrift are recurring throughout Ferlinghetti’s visual art.

By happenstance I know this image well.

In 2011, my partner Sarah was working with Shipyard Trust for the Arts (STAR) on the art auction for Fall Open Studios in San Francisco. She was in the STAR office at Building 101 in the Hunters Point Naval Shipyard on a sunny fall afternoon when Ferlinghetti briefly stopped by to drop off the piece he was contributing to the auction. The artwork was a version of the lithograph “Lovers at Sea.” When that auction ended in 2011, my wife and I were the proud new owners of our first Ferlinghetti.

Above: The author with “Lovers at Sea” in front of the Ferlinghetti olive tree in North Beach, 9.20.2025. Lithograph, Lawrence Ferlinghetti. Artist Print No. 1. Printer Patrick Surgalski. 1992. Photo by Sarah Stangle. Below: Detail of the back of the AP #1 of “Lovers at Sea.”

The inclusion of this lithograph in the Legion exhibit made me look closer at our lithograph at home. The version that Ferlinghetti submitted to the auction was AP1: Artist Proof no. 1. The back was signed “Ferlinghetti 1992” and in the same black pencil is written “Printed by Patrick Surgalski.” Naturally, I became more curious about the printer’s and the circumstances of its making. A quick online search revealed that Patrick Surgalski is a writer and artist who had retired from teaching lithography at San Jose State University. I reached out to Surgalski.

Left to Right: Stephanie Peek, Lawrence Ferlinghetti, Patrick Surgalski. Working on “Freud” lithograph at San Jose State University, 1992. Photo courtesy of Patrick Surgalski.

Surgalski remembered his time in the studio with Ferlinghetti, noting:

“I remember the experience well. The litho "Lovers at Sea" came after Lawrence had done "Freud" a kind of "double image" of the psychiatrist. Lawrence had expressed an interest in litho and I invited him to hang out in my litho class, which he did (photo attached). It was a pretty productive time for both of us, I did some images to go with his poetry and he tried a range of print processes. I made a large silk screen for him of the Statue of Liberty and showed him how to print with oil paint onto canvas, you have probably seen some of these.”

Both “Lovers At Sea” and “Freud” are prominently featured in the Legion of Honor exhibition.

The statue of liberty image that Surgalski mentions ended up in a number of Ferlinghetti’s paintings over the years. One of them, “Liberty #3,” is a large-scale painting on a canvas sail and is currently on view in the public atrium of Historic Bldg 12 at Pier 70 in Dogpatch, along with three of his other large-scale paintings.

“Liberty #3,” 1992, oil paint on canvas tarpaulin (unstretched), 130.75" w x 77.5" h. Ferlinghetti’s personal copy of a postcard featuring a portrait by Stephanie Peek of Ferlinghetti with his painting “Liberty #3,” published by City Lights, 1993. Installation of 4 large-scale Ferlinghetti paintings currently on view at Building 12 at Pier 70 in Dogpatch. Photo by Sarah Stangle.

Poetic Drawings

What I love about this exhibit at the Legion is that these works are produced here in the form of etchings, lithography, letterpress and printing, and by nature, are all in black and white. In many cases, these started as line drawings on a notepad or in a pocket sketchbook before he settled on how to further utilize the images.

While cataloging his private library, I got to see firsthand how often Ferlinghetti drew an illustration on the inside cover of a book, on the title page or deep within the text. It made handling and reviewing each book in his library the ultimate archivist’s easter egg hunt. I soon realized I needed to doubleback to also check the inside cover of any dust jackets still in place: he used any surface that was convenient, that could take the marks of a pen. Over a two-year period, after work, and much of it in the depths of the pandemic lock-down, my wife Sarah got used to hearing me say “ohhhh” from the other room, while I discovered yet another drawing on the inside pages of a book from his private library or in a sketchbook.

These snapshots are drawings from sketchbooks that are part of Ferlinghetti’s private library and art collection.

These hand-drawn sketches, some of which turned into the works we see here at the Legion’s exhibit, are of a Beat aesthetic: accessible, archetypal, analog. Pen and paper, brush and stroke. Black and white. Spontaneous. Gestural. Creative. Some with a few words jotted down, enhancing the meaning and elevating them to “poetic drawings.” Others became lithographs and were incorporated into his written work, like this drawing below that he worked into the book cover he designed for Americus, a book of his poetry published by New Directions in 2004. Notably, this work on paper and the signed volume are included in the exhibit and are on loan from the estate, pulled from his personal art collection and his private library.

This work on paper and the signed volume are included in the exhibit and are on loan from the Ferlinghetti estate, pulled from his personal art collection and his private library. Photo by Chris Buck.

In Riffs & Ecstasies, Rita Bottoms notes Ferlinghetti’s versatility when it came to substrate and medium. He utilized whatever was at hand as if afflicted by a compulsion to draw.

“Away from his studio Lawrence often works in small sketchbooks that fit in his pocket and on paper tablecloths at restaurants like Dago Mary’s in Hunters Point or the Black Cat in North Beach. . .” (Rita Bottoms, “Studio of Light”, from Riffs & Ecstasies, pg. 31, 2011).

Examples of the travel journals that were the source material for *Lawrence Ferlinghetti: Writing Across the Landscape: Travel Journals 1960 – 2013*. Edited by Giada Diano and Matthew Gleeson.

These journals were on view in “Ferlinghetti | An exhibit in 6 vignettes” at the San Francisco Historical Society, September 2024-March 2025. They have since been transferred to the Bancroft Library to join Ferlinghetti’s literary papers.

Bottoms was a librarian for U.C. Santa Cruz for many decades , the founder of their Special Collections department, and an ardent believer in and early supporter of Ferlinghetti’s visual art. While speaking of one of his paintings, Bottoms notes the influence of some of the recurring motifs in his work that are equally applicable to imagery seen in his works on paper: “The hunger for his lost father flows like a river through his life, surfacing every so often in a poem. I always wanted to see it in a painting. And for a dozen or so years I did not recognize that, it may have been there all along. Swimmers just under the water, living or dead ones scattered at sea, the lone figure standing in a boat, whether Carlo Ferlinghetti or his son, unknown.” (Rita Bottoms, “Lawrence Ferlinghetti, in Cera Di Papà”. Riffs & Ecstasies, pg. 24-25, 2011).

This brief but insightful passage hit me like an epiphany when I first read it a few years ago. I had observed but never articulated that many of the faces on human figures in Ferlinghetti’s work often spared facial details. This potential search, for the face in a crowd or making out a solitary figure that never came to full identity in much of his work, revealed his work to me in a new way.

Left: A primary display case of “Ferlinghetti for San Francisco.” Right: “Freud . . . Life is a real dream” Lithograph with acrylic.1992. Printer: Patrick Surgalski. Photos by Chris Buck.

The Lens of Accessibility

Ferlinghetti’s use of lithography and other printing processes never undermined the fact that he was still drawing as he shifted to these other mediums. His reasons for doing so are likely linked to the question of accessibility. Creating multiple works from an image afforded him a wider range of collectors who would get to enjoy his iconic imagery. His history with City Lights Bookstore, where he is credited with creating one of the earliest bookstores devoted to paperback books, is itself a manifestation of wanting to make books affordable, and thus easier to purchase. These endeavors are in the spirit of political pamphleteers and the creation of poetry broadsides, which brought works into the public space. This is precisely what I believe Ferlinghetti sought to achieve through lithography.

While Ferlinghetti’s poetry is legendary, and ‘Coney Island of the Mind’ iconic, he only produced three works of fiction over his entire writing arc, with his novel ‘Her’ owing a nod to Andre Breton’s ‘Nadja’, and his final novel ‘Little Boy’, written in a voice that to me, pays homage to Molly Bloom’s stream-of-conscious narrative in the final, climactic chapter of James Joyce’s ‘Ulysses’. After recasting ‘Ulysses’ and ‘Nadja’, was there anywhere further to go with the medium? Poetry provided him with short, quick hits, in most cases. He had no interest in laboring over long-form fictions. Likewise, his lithography didn't interfere with his love of drawing, which as I've noted, he did incessantly on any surface available to him. The multiples meant more people would get to enjoy the images he found particularly compelling and necessary. He didn't need a work of art to be singular, in fact, his return to certain motifs and repeating imagery should be understood within the context of wanting to share ideas with more people.

A major appeal of Ferlinghetti’s poetry (some of it at least), was that the language and imagery provided clear messages, and as he put it in his collection ‘The Populist Manifestos,’ he was looking to liberate all those “house broken Ezra Pounds. . .” who loaded their poetry with so much history and metaphor, that its meaning could easily be lost. In 1959, Pablo Neruda affirmed this tendency by Ferlinghetti, telling him “I love your wide-open poetry.” Neruda was acknowledging that some poetry was deliberately shedding the academic formalism within which it had been so tightly cloaked. Ferlinghetti sought to push these ideas in his artmaking, particularly in the use of certain simple words and phrases which often adorned the drawing imagery. What felt instinctive, helped him realize a way of making his artwork further resonate.

Photo caption: “Adrift,” 1992/2020, etching. Printed by Paul Mullowney in 2020, presumably right before the pandemic. That means Lawrence would have been still participating in the production of his artwork just shy of turning 101. Paul Mullowney is the founder and co-director of Mullowney Printing. Mullowney Printing is a multi-faceted print studio which operated in San Francisco since 2011 until moving the business to Portland, Oregon in 2019. The studio publishes traditional print media—etching, relief, photo gravure, screen printing, letterpress editions—by leading contemporary artists. Mullowney became a master printer at Crown Point Press in San Francisco in 1990 and has taught at Pacific Northwest College of Art and San Francisco Art Institute.

Printmaking as Collaboration

A major emphasis in this exhibit is how collaboration is intertwined with the art of printmaking. Several broadsides and books highlight the national and international partnerships Ferlinghetti cultivated, and while we more readily recognize the partnership between visual artists and the printer, the placement of poetry on broadsides, often via letterpress, is just as collaborative a process. Two letterpress broadsides in this exhibit were created to honor or commemorate an event, such as “The History of the Airplane” by the Chicago Poetry Center in honor of Ferlinghetti’s reading there in 2002, and “Rivers of Light” by Kavyayantra Press for Naropa Institute’s Summer Writing Program in 1998.

To the right of “Lovers at Sea” is an art book published by Edizioni Canopo (Italy), titled Endless Life, 1999. This boxed folio, letterpress with etchings pairs Bay Area artist Stephanie Peek’s eleven drypoints and aquatints opposite poems by Lawrence Ferlinghetti. The inclusion of this volume is representative of the many partnerships that Ferlinghetti forged over his lifetime, to ensure that an idea made it off the page. Poetry and visual art rarely transcend the page or canvas if they are left to remain in place.

*Endless Life,* 1999. Boxed folio, letterpress with etchings. Artist’s book, published by Edizioni Canopo, Italy. Stephanie Peek and Lawrence Ferlinghetti. Photos Chris Buck.

Ferlinghetti for San Francisco

The title of the exhibition parallels the kind of slogan candidates use at election time (“so-and-so for Mayor,” for example). But San Francisco wasn’t an office Ferlinghetti was seeking; rather, it was the launching pad for so many of his creative endeavors that shaped him. As San Francisco’s first Poet Laureate, Ferlinghetti certainly was for San Francisco, but he always pulled for humanity. He did this through his poetry and art, and notably through the censorship battles he fought as he amplified new voices through the independent bookstore City Lights Booksellers & Publishers. Importantly, some of his most well-known “political” or “current events” poems demonstrate that his focus extended well-beyond the small tip of our peninsula; it was unquestionably a world-view. The work he wrote and published made us ponder our place in the world and how things had come to be what they were. The exhibition at the Legion of Honor includes a letterpress broadside of one such poem “History of the Airplane,” a poem written in response to the events of 9/11/2001. It opens with:

And the Wright brothers said they thought they had invented

Something that could make peace on earth

(if the wrong brothers didn’t get hold of it)

Ferlinghetti takes this heartfelt idea that technology would make peace and brings us to the events of 9/11:

And they kept flying and flying until they flew right into the 21st

century and then one fine day a Third World struck back and

stormed the great planes and flew them straight into the beating

heart of Skyscraper America where there were no aviaries and no

parliaments of doves and in a blinding flash America became a part

of the scorched earth of the world

The small text at the bottom of this broadside reads: “This letterpress broadside, featuring Lawrence Ferlinghetti's poem ‘History of the Airplane’ was specially printed for Mr. Ferlinghetti's reading at The Poetry Center on October 17, 2002. Image by Ed Paschke. Designed by Amy Rowan and The Poetry Center. Limited edition number 24 of 50."

The exhibit space is immaculate, intended for the display of books and works on paper. The recessed glass cases seem to float in space: visitors will appreciate how it hushes the mind, creating an equivalent visual noise cancelling effect. It is an inviting location to take in this relatively small, yet immense exhibition, that serves to introduce Ferlinghetti to new audiences and also remind those of us who know his work that his creative reach extended far and wide.

Ferlinghetti for San Francisco is a point of entry to the great, epic, snaking river that is Lawrence Ferlinghetti. This is a clearing along the shore, with a sandy bottom and a view to the other side. It is however, a fast-moving river at times, at others divergent, stilled by varying landforms and terrain. It also stretches across the entire continent, East to West, and back again West to East, yet reappears on other continents – though they say none of this is even possible.

What is nearly impossible to grasp is a complete view of the headwaters at its inception all the way to its delta, fanning out into the ocean. Ferlinghetti is the river I will never grow tired of studying, for its length, depth, and breadth.

Chris has worked to select and share volumes from the private library of the Estate of Lawrence Ferlinghett in exhibits and events such as:

“Ferlinghetti at Home” (The Beat Museum, 2021 - present);

“Ferlinghetti | An exhibit in 6 vignettes” (San Francisco Historical Society, Sept 2024 – March 2025);

“Ferlinghetti: A Singular Voice” by Jim McKee (a presentation at the San Francisco Historical Society, March 11, 2025);

“Decommissioned: The History of the Hunters Point Naval Shipyard” (June 5 - August 2, 2025);

“Ferlinghetti for San Francisco” (Legion of Honor, July 2025 – March 2026).

Want to see more of Ferlinghetti’s artwork—paintings, drawings, prints, and works on paper—created across decades? Seek out these additional resources:

Lawrence Ferlinghetti – 60 Years of Painting. Book published for the exhibit, Museum of Rome in Trastevere, published by Silvana Editoriale. Edited by Giada Diano and Elisa Polimeni. 2010. Introduction by the Mayor of Rome, Giovanni Alemanno. Includes several essays including those written by Rita Bottoms, Giada Diano and Elisa Polimeni.

The Poet As Painter. Book published for the exhibit. 1996 solo show at the Palace of Exhibitions, in Rome, Italy. Published by Progetti Museali Editore.

Life Studies, Life Stories – 80 Works on Paper. Published by City Lights Books and George Krevsky Gallery. 2003.

Ferlinghetti: Leaves of Life – Fifty Drawings from the Model. Volume One. Published by City Lights Books, San Francisco. 1983

Ferlinghetti: Leaves of Life – Thirty Drawings from the Model. Volume Two. Published by The University of Charleston, Parchment Gallery Graphics. The drawings for the exhibit at the University of Charleston, 1995.

Lawrence Ferlinghetti: Multimedia Artist, Selected Works. Published in 2001 by the Francesco Conz Cultural Association of Verona, Italy. Printed by S.V.E.T. Casier Treviso, 1,000 copies. Foreward by Francesco Conz, and essays by Rita Bottoms “The Subversive Art of Lawrence Ferlinghetti” and “Fuck Art, Let’s Dance! The Art of Lawrence Ferlinghetti” by Antonio Bertoli.

Riffs & Ecstasies, by Rita Bottoms. Published by Café Margo, Santa Cruz, California, 2011. See “Lawrence Ferlinghetti In Cerca Di Papà” pg. 21, “Studio of Light” pg. 29, and “Dreaming Clemence Albertine Ferlinghetti” pg. 37.

‘Lawrence Ferlinghetti -- Writing Across the Landscape: Travel Journals 1960 – 2013’ edited by Giada Diano and Gleeson. Published by Liveright, WW Norton (2015).

Lawrence Ferlinghetti, Ferlinghetti for San Francisco, Legion of Honor

Julio Cesar Morales, My America, Wendi Norris Gallery

Harry Bertoia, In the Great Oneness: Drawings, Sculpture & Sound, Hosfelt Gallery