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stephen ROMANO gallery

Stephen Romano

Stephen Romano

Stephen Romano

Stephen Romano Gallery has collaborated with cultural institutions including The Metropolitan Museum of Art, The Reina Sophia in Madrid, Gagosian Gallery in New York, the Dark Mofo Festival in Tasmania, Morbid Anatomy at Greenwood Cemetery, The American Folk Art Museum in New York, the Buckland Museum of Witchcraft and Magick in Cleveland, among others. We further support our beloved artist community by producing pop up exhibitions, the most recent of which was a Twin Peaks tribute show "No Stars" in collaboration wth Josh Stebbins and Rebekah Del Rio.


We continue to seek new and innovative ways to be a presenter by perpetuating the art of the esoteric. We may be contacted at romanostephen@gmail.com .


266 East 5th Street
2nd floor

3D exhibitions

  • Stephen Romano

    LORENA TORRES MARTELL

    LORENA TORRES MARTELL from the artist: "My main inspiration is horror movies, gothic culture and the aesthetics of the grotesque, I am passionate about creating these types of images, I can spend hours in post production, I really enjoy creating characters with deformed features that reflect despair and suffering, witches, monsters and supernatural beings. The terrifying, the strange, the fear and death." Lorena Torres Martell is an artist who resides in San Luis Potosí, México.Her American debut was her inclusion in the exhibition "TRANSMUTATIONS..Witches, Healers and Oracles" curated by Stephen Romano at the Buckland Museum of Witchcraft and Magick in Cleveland Ohio. She was also featured in Rue Morgue Magazine in February of 2021. She has participated in various exhibitions of painting, engraving and photography. She collaborated with photo work in the storybook "SINIESTRO" by Violeta García, at the Fóbica festival in Guadalajara and at the Centro Cultural de México Contemporáneo in Mexico City. In 2018 she held his first individual photography exhibition "EXCISION" at the La casa de las Bóvedas Cultural Center She recently won first place in the festival's horror photography contest: Terrorificamente Cortos, in Palencia, Spain with his photography "Tres Brujas". She was also awarded the instagram prize of the same contest.

  • Stephen Romano

    "Apparitions"

  • Stephen Romano

    Saint Bowie

    Stephen Romano Gallery is pleased to present a group exhibition of reliquaries to David Bowie. An exhibition of artist made reliquaries, ex votos, Santos, sigils, altars, ephods, spirit photos and much more objects dedicated to communing with Bowie on the other side. The exhibition was originally presented at stephen ROMANO gallery March - Arl 2016.

  • Stephen Romano

    Wolfgang Grasse 1930 - 2008

    Wolfgang Grasse 1930 - 2008

  • Stephen Romano

    William Mortensen's WITCHES

    WILLIAM MORTENSEN'S WITCHES

  • Stephen Romano

    Magia Naturalis et Innaturalis: or, Threefold Coercion of Hell, Last Testament and the Sigils of the Art

    The Magia Naturalis et Innaturalis was a popular grimoire in 18th Century Germany centering around the legend of Doctor Faust, to whom it was pseudo-epigraphically attributed. It contains a great array of magical practices centering around his mythical exploits aided by the spirit Mephistopheles.It remains relevant today as the foremost exemplar stemming from the Faustian Magical Literature and will prove indispensable for the scholars of Western Esotericism for its great array of magical practices dealing with topics like demonology, necromancy, the Liber Spirituum and divination as well as to the students of Goethe’s sources for his magnum opus Faust.This critical edition, amply researched, provides historical and literary context through its introduction and commentary to students and scholars of magic and Faustian literature.

  • Stephen Romano

    Sabina Jasminé "GIRL GAZE"

    Sabina Jasminé, a self-taught, 22 year-old Los Angeles native. full feature on LEXICONMAG.com. ☞ ibit.ly/twAT the exhibition is best viewed using arrow keys and mouse drag.

  • Stephen Romano

    WILLIAM MORTENSEN'S NUDES

    WILLIAM MORTENSEN'S NUDES Born in 1897 in Park City, Utah, William Mortensen was a self taught photographic artist who along with the actress Fay Wray made his way to Hollywood in 1921. There he worked with such notable directors as Cecil B Demille, Tod Browning, John Griffith Wray and Ferdinand P. Earle as a still photographer and costume and mask maker. He was given a whole floor at the Western Costume Company to work in and used the resources to perpetuate his own art. His fascination with occult subject matter began when he saw the film "Haxan: Witchcraft Through The Agee, a 1922 Swedish-Danish documentary-style silent horror film written and directed by Benjamin Christensen. William Mortensen was highly sought after as a photographer in Hollywood until 1929, when a scandal involving his relationship with Fay Wray was the subject of an article in Motion Picture Magazine, he was forced to leave Hollywood and relocate his practice to Laguna Beach. where he open the Mortensen School of photography, and took the opportunity to develop his techniques of manipulated photography, publish a dozen books on various subjects of photographic techniques and philosophies, and attracted several thousand students from all over the world. Despite his successes, Mortensen was engaged in a public feud with Ansel Adams. who called him "The Anti-Christ. and as a result his acknowledgement as an artist was relegated to less than a footnote, and Mortensen sadly died frustrated and obscure in 1965. It is only in the past 15 years or so, since the ad-vent of digital photography, that William Mortensen has been recognized as a seminal American artist, and in 2014 the late Adam Parfrey's Feral House published a book "William Mortensen: American Grotesque- which increased Mortensen's visibility by orders of magnitude, and William Mortensen now is recognized as a national treasure, the status he rightfully deserves. In 2018, William Mortensen's first solo exhibition outside of the USA was mounted in Tasmania at the Dark Mofo festival attracting 6,000 visitors over 10 days. The inclusion of William Mortensen in our current understanding of the history of photography marks an end to the long-term injustice done to the man and germinal work_ "Anathematized, ostracized, and eventually purged from the dominant narratives of 20th-century photography due to the biases of a small but influential cluster of historians, curators, and photographers, Mortensen plunged into an obscurity so deep that by 1980 most considered him unworthy of even a footnote. Yet the approach to the medium that he advocated, under the rubric of "pictorialism; included practices central to photography of the past four decades: events staged for the camera, image text combinations, photomontage. "alternative processes. and more “ A.D. Coleman, excepted from °William Mortensen Reconsidered" published by Stephen Romano Gallery 2014 www.romanoart.com stephen ROMANO galley

  • Stephen Romano

    The Virtual Viewing Room©™ Part II

    Selections from Stephen Romano Gallery, for information contact romanostephen@gmail.com

  • Stephen Romano

    Daniel Gonçalves

  • Stephen Romano

    RAY ROBINSON "The Third Door"

    "..and so pass through the matrix of memory and through The archetype that defined the first vision and set our Parameters To an inner meaning without external references, THE THIRD DOOR The Art of Ray Robinson by Charlotte Rodgers Witches? Poor Devils Each of the paintings has a true circumstance…and the result of my ‘being there’ My general observation of my contribution was, as I wrote at the time ‘When reason sleeps in the minds of the wise Witches burn and demons rise’ THE ART OF RAY ROBINSON: THE THIRD DOOR by Charlotte Rodgers, October 6 2016 ‘NO ONE CAN MAKE A JAPANESE TEA CEREMONY BOWL..THEY GROW FROM THE HANDS OF THE MASTER AND THE NEEDS OF THE CLAY…THE MASTER ALLOW" Ray Robinson History is littered with visionaries who change our perception, Often, in these people’s lifetime their work, their art is only glimpsed out of the corner of an eye and whilst it changes you, the change isn’t necessarily acknowledged at source. It usually takes another visionary to stop, pause and recognise the impact. Rarely is the originator of the change of awareness still alive at this moment of recognition. I often wondered what it would be like to communicate with one of these iconoclasts. If I met Austin Osman Spare for instance, would I have the ability to recognise him, to pause, and open myself up to a different way of seeing? I first encountered Ray Robinson’s work when I was interviewing Gallery Owner and Art Dealer Stephen Romano, and I found it to be some of the most powerful art I’ve come across. Stephen suggested I contact Ray, and thus started one of the most magical mystery tours of an interview I’ve ever done. Now I’ve interviewed many artists and spiritual teachers, but this particular conversation fell into neither camp and was in a league apart from both. A good interviewer adapts themselves to the individual rhythm and dance of those they are conversing with and there can be a huge variation in movement. In this particular instance I have been challenged, insulted, taken on mystical journeys, had the most incredible dreams, but never, NEVER had a question directly answered. Truth to tell I loved the process, infuriating as it was at points. The following relates portions of conversations with a great artist who will change you. Recognise it, allow it, and for gods sakes try and see Ray Robinson’s work in actuality. Ray, I’m not a formally trained art critic so this discussion won’t be focused on academic interpretation of your work. Hopefully you wont be insulted by any ignorance on my part but instead regard it as way to communicate as freely as you want without having to adhere to any particular approach. I’ve read your ‘Grandmother Chronicles’ which perhaps gives an insight into your structuring of reality and art. Words are often so limited but this is an astounding piece of writing. The trauma of leaving your home in WW2 London, going to stay at your grandmother’s and undergoing an initiation of sorts into different perceptions of vision and interpretation is wonderful, as is the way you describe the re-presentation of perceptions of light, time and space. Now it would be easy for me to turn this into a conversation where I grill you about aspects of your work that I’m personally fascinated by, constantly interrupting you with my irritating over enthusiastic asides, but I won’t. I am an untrained artist who has written a few books and my personal creative interests, what I focus on and what I often write about, are spirituality and power that are contained within objects and art. The older I get the more I realise that the line between art and magic is so fine as to be non existent. So who are you? Very brave (I am not sure whether Ray is referring to himself or me for approaching him in that statement) Stephen Romano can cover the exterior for the last 40 years. (follow below link) I live in Nova Scotia but am originally from London, England. I am a very trained artist who has also written a few books. I have lived a life with the fact that there is no line at all. Nothing has ever inspired me. Mine has been a search for ‘why’ I do not know. I know that I do not know, but why the great gaps in a humans basic understanding? The senses to not sense but, still, humans survive. Inspiration surely is the source of the creative process and if creativity doesn’t exist, then what is an artist and who and what are you? What are the images you produce? Premeditated? Actual? No not premeditated. No not actual. No not channelled Allowed Allowed by who or what? By the subject. At the beginning of the ‘Grandmother Chronicles’ you use a quote by Magnus Roundtree ‘how you see the world shows how it behaves, change how you see the world, and the world changes’ And that leads into the memory of a child leaving the grey chaos of London to a world ordered by nature and a near crystalline perception that is the antithesis of before, but makes complete sense and is very real and actual. In a memo to Stephen Romano you said that,’ sculpture as a pure visual art form cannot and does not exist, Form has measurable three dimensions but is not to human vision, three dimensional. Human vision can only see half of any form. A simple glass globe described visually is half convex and half concave! Multiple views of a single object do not give an experience of the whole.’ This is fascinating – and challenging for the artist. This is developing into a conversation, which at the moment I cannot support. I know Stephen has a good reason for suggesting you talk to me. His project at the moment required that he asked me for some comments on my art…I suggested that this was not really a good idea given his understanding of my basic views. I sent him a quick and short sample of what my replies to his questions might be, in this case my basic view of my sculpture. His reply was to send you to me??? Ray and I worked through this and I began to realise that Ray was a visionary who communicates through his art. Interpretations of his work are incredibly important to him, and are something he wants translated properly and accurately. I also needed to try not to get too absorbed in Ray’s fascinating philosophies, and retain a degree of distance and professionalism. So we continued the dance… ‘Humans have two ways to understand reality, each world taken to the logical conclusion of living. First a world of conception and secondly a world seen with perception. However only if you understand these words and without the ‘isms’ of art doctrine you do not need to question me, however even after that there are still much to be learned.’ Ray Robinson Tell me about the series of paintings Sleep of Reason and Sleep of Reason II Stephen was mounting many shows on the subjects of witches. To me the basic truth of this was totally unreasonable until I thought of the sleep of reason in the midst of these people and after that, total empathy. As with all art, total empathy between artists, materials and subject. These works are not some airy fairy illustration; they are real. Real in fact, real in space, real in time. All I did was write it all down. All that is except the hanging…I could not write down the smell and the visual truth was more than my brush could summon. Witches? Poor Devils Each of the paintings has a true circumstance…and the result of my ‘being there’ My general observation of my contribution was, as I wrote at the time ‘When reason sleeps in the minds of the wise Witches burn and demons rise’

  • Stephen Romano

    The Virtual Viewing Room©™

    Selections from Stephen Romano Gallery, for information contact romanostephen@gmail.com

  • Stephen Romano

    "NO STARS - A TWIN PEAKS TRIBUTE EXHIBITION"

    "No Stars: A Twin Peaks Tribute Exhibition" feels like a contemporary gallery version of those original fan subcultures that sprung up during the 1960s and ‘70s (think "Star Trek" conventions, bootleg Grateful Dead albums, Marvel fanzines). Josh Stebbins’ portraits of the creators and characters of the "Twin Peaks" series, integrated with iconic symbols, landscapes, and set pieces, are reminiscent of old mimeographed sci-fi zine covers. The archival objects procured by gallerist/curator Stephen Romano betray a fan-level obsession with unlocking the mysterious sources of the show’s visual aspect; and other new works—by artists such as Natan Alexander, Alexis Palmer Karl, Jen Bandini, Luciana Lupe Vasconcelos, Daniel Gonçalves, Matthew Dutton, Barry William Hale, Blake Morrow, and Jill Watson—suggest a fictional ecosystem that has not only the potential to expand, but has history as well. Indeed, the more we touch things, and the more familiar we become with them, the more they take on a life of their own. In this way "No Stars" is almost like a primer on the creative process. A live performance by Rebekah Del Rio, whose song “No Stars” (composed by "Peaks" creator David Lynch) was featured in Episode 10 of "Twin Peaks: The Return," gave the opening night of the exhibition a stamp of authenticity, and brought out a deeper emotional connection between the audience and the objects around the room. In terms of new art created for the show, Alexis Palmer Karl’s painted human skull, encrusted with black and transparent crystals, had all the makings of a ritualistic relic. The artist, who is also a real-life practitioner of witchcraft, added the butterfly-frog creature of "Twin Peaks: The Return’s" iconic Episode 8, albeit with it exiting the mouth of the human figure rather than going into it. This suggests that what began inside the show’s fictional universe has now carried over to the real world. The connection between traditional occultism and liberties taken by modern television and cinema is also evident in this piece—a connection which embraces artistic license over academia (as well as the renewed interest in alternative spirituality). Josh Stebbins, whose twenty pencil drawings with mixed media elements such as collaged letters and used match sticks, was really the star of the show. His depictions elevated each character from the series to the level of religious icon. A diptych of Laura and Leland Palmer—daughter/father, incest victim/perpetrator, symbolic good/evil figures—is the most expressionist of his works, boasting a terrified Laura backed by a circle halo and a sociopathic Leland peering at her through a small window, both surrounded by skeins of blood red paint. Jen Bandini’s two emblem pictures directly reference 17th century German alchemical imagery—a genre whose open hands, all-seeing eyeballs, and floating geometric shapes influenced heavily the iconography of masonic artworks of the 19th century in America. According to co-creator Mark Frost’s two dossier-style "Peaks" tomes, fraternal lodges laid the groundwork for the series’ mysterious tone, as well. A spate of antiques from such secret societies are peppered throughout the exhibition—e.g. a Rebekah Lodge statue of the Venus De Milo set against a red velvet curtain backdrop and a series of Masonic postcards which seem to presage the "Twin Peaks" “Red Room.” These not only bind the show aesthetically but also lend credence to the notion that esoteric design provided the series (and "No Stars") with its strange sense of intellectual freedom. It is this kind of freedom in fact—from scientific positivism, secularism, consensus media, and bourgeois realism—that gave both the exhibition and the "Twin Peaks" universe in general its timely appeal. Red curtains, zig-zagged tiled floors, spooky owls, brotherhoods and lodges, doppelgangers, UFO abductions, violence, tragedy, a universe conspiring to bigger things than we can imagine from our limited vantage—in an era of growing uncertainly and mistrust towards established institutions, themes such as these are much more than titillating content to be consumed by mindless masses. They invite us to think outside the box; to imagine the possibility. It can start with a simple drawing of your favorite TV character. Yet who can say where it will lead? (Brian Chidester, 03/28/2020) Indeed, the more we touch things, and the more familiar we become with them, the more they take on a life of their own. In this way No Stars is almost like a primer on the creative process. A live performance by Rebekah Del Rio, whose song “No Stars” (composed by Peaks creator David Lynch) was featured in Episode 10 of Twin Peaks: The Return, gave the opening night of the exhibition a stamp of authenticity, and brought out a deeper emotional connection between the audience and the objects around the room. In terms of new art created for the show, Alexis Palmer Karl’s painted human skull, encrusted with black and transparent crystals, had all the makings of a ritualistic relic. The artist, who is also a real-life practitioner of witchcraft, added the butterfly-frog creature of Twin Peaks: The Return’s iconic Episode 8, albeit with it exiting the mouth of the human figure rather than going into it. This suggests that what began inside the show’s fictional universe has now carried over to the real world. The connection between traditional occultism and liberties taken by modern television and cinema is also evident in this piece—a connection which embraces artistic license over academia (as well as the renewed interest in alternative spirituality). Josh Stebbins, whose twenty pencil drawings with mixed media elements such as collaged letters and used match sticks, was really the star of the show. His depictions elevated each character from the series to the level of religious icon. A diptych of Laura and Leland Palmer—daughter/father, incest victim/perpetrator, symbolic good/evil figures—is the most expressionist of his works, boasting a terrified Laura backed by a circle halo and a sociopathic Leland peering at her through a small window, both surrounded by skeins of blood red paint. Jen Bandini’s two emblem pictures directly reference 17th century German alchemical imagery—a genre whose open hands, all-seeing eyeballs, and floating geometric shapes influenced heavily the iconography of masonic artworks of the 19th century in America. According to co-creator Mark Frost’s two dossier-style Peaks tomes, fraternal lodges laid the groundwork for the series’ mysterious tone, as well. A spate of antiques from such secret societies are peppered throughout the exhibition—e.g. a Rebekah Lodge statue of the Venus De Milo set against a red velvet curtain backdrop and a series of Masonic postcards which seem to presage the Twin Peaks" Red Room. These not only bind the show aesthetically but also lend credence to the notion that esoteric design provided the series (and No Stars) with its strange sense of intellectual freedom. It is this kind of freedom in fact—from scientific positivism, secularism, consensus media, and bourgeois realism—that gave both the exhibition and the Twin Peaks universe in general its timely appeal. Red curtains, zig-zagged tiled floors, spooky owls, brotherhoods and lodges, doppelgangers, UFO abductions, violence, tragedy, a universe conspiring to bigger things than we can imagine from our limited vantage—in an era of growing uncertainly and mistrust towards established institutions, themes such as these are much more than titillating content to be consumed by mindless masses. They invite us to think outside the box; to imagine the possibility. It can start with a simple drawing of your favorite TV character. Yet who can say where it will lead? (Brian Chidester, 03/28/2020)

  • Stephen Romano

    JOSH STEBBINS "NO STARS - A TWIN PEAKS TRIBUTE EXHIBITION"

    Josh Stebbins "NO STARS - A TWIN PEAKS tribute exhibition.

    latest works

    • The hardworking painter Mr. Karl Kohl

      Tetragramaton, 1849
    • The hardworking painter Mr. Karl Kohl

      Ariel's Magic Wand, 1849
    • Unknown.

      D. Johannis Faustii Magia Naturalis Et Innaturalis; or inscrutable hell-compulsion / this is Miracul-Art u. Miracle book which I have conquered the hellish spirits / that they must accomplish in all my will. 1612, 1612
    • The hardworking painter Mr. Karl Kohl

      Buriels Gestalt, 1849
      14.9 x 27.6 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      The forms of the seven Great Fiery Spirits; Abdicuel; Adiel; Kiriel; Ergediel; Amediel; Azeruel; Amudiel., 1849
      29.9 x 40.9 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Pedatiels Gestalt, 1849
      17.5 x 11.9 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Pentaculum Pentagonon Crucis; The Holy and Powerful Sigil of the Moon., 1849
      19.4 x 30.8 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Mephistophiel, 1849
      21.1 x 14.2 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Still a coercion-Sigillum of all spirits, which is also Pluto’s Nasenzwan; The serpent or Moses Sigil., 1849
      5 x 6.6 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Faust Portrait, 1849
      10.7 x 9.3 x 0.2 inch (h x w x d)
    • The hardworking painter Mr. Karl Kohl

      St. Raphels Sigillum, 1849
      17.4 x 26.1 cm (h x w)
    • The hardworking painter Mr. Karl Kohl

      The Red Dragon (frame)
      32.4 x 41.9 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Barbiel , 1849
      27.4 x 39.6 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Barbiel, 1849
      30.2 x 42.6 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      Barbiel, 1849
      30.2 x 42.6 x 0.2 inch (h x w x d)
    • The hardworking painter Mr. Karl Kohl

      The Red Dragon (After Collot), 1849
      21.9 x 39.6 inch (h x w)
    • The hardworking painter Mr. Karl Kohl

      MAGIA NATURALIS ET INNATURALIS,, 1849
      42.1 x 25.1 x 0.2 inch (h x w x d)
    • The hardworking painter Mr. Karl Kohl

      St. Sachiels Sigillum., 1849
      21.3 x 29 x 0.1 inch (h x w x d)
    • The hardworking painter Mr. Karl Kohl

      St. Anaëls Sigillum., 1849
      20.2 x 29.1 x 0.2 inch (h x w x d)
    • The hardworking painter Mr. Karl Kohl

      St. Cassiels Sigillum, 1849
      20.2 x 28 x 0.2 inch (h x w x d)
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