AH. 11 Sept 2012.


Hi Rachael,

Thanks for having me over. That was the most impressive show that I’ve seen at Arthouse, full stop. Keep going. I wondered about the size of it… If it were a slightly bigger exhibition it would give the viewer more rotation. I find that traditional contemporary art seems, for me, to have been crushed by the wheel — was reflecting that the pieces you had installed were kinetic and 3D — more like film. and more like better!

My suggestion would be to give staff raincoats and overcoats as standard issue and re-route them to the roof top. There’s no reason why anyone wouldn’t enjoy having a permanent/temporary workspace/office on the roof — open to the environment. Sell the view! (Remember, going paperless opens up this possibility). Then I’d take the space previously occupied and make it additional exhibition space. If that seems heartless — you could always lobby the board to buy a clear, inflatable environment in which to house staff. LOL. Sort of…



I mistakenly posted this on General Conditions. Ah-ah-ah. This is the arts. After all..




Post. 27 Mar 2012.



An Attempt At Nothing. Mixed media. 19″ x 84″, William Vaughan

© vaughan+studios, 2012

Look, Ma! I’m Flying!

Dfault Settings. 15 Jul 2011.


In a recording studio — you always look for equipment that has ‘repeatable’ functions. Like detents on the pots so that the same sound can be achieved ad naseum  — like today’s art. Warhol was a cold factory, but I mean, really. What he did was done long ago — so enough. Besides, whatever happened to exploration? I guess exploration is scary in today’s world. Stay in your Filter Bubble and do as you’re told — just where Apple, the Google and the Facebook want you.  Who wants to become a STENOGRAPHER to everything real? It’s the Home of the Brave, remember? OK, I digress — back to the original diatribe on detents. Detents which are great for recording machinery — it turns out,  are a total anathma to the visual arts. Unless you really prefer a ‘canned’ experience. (Refer to ‘detents’ earlier). In the visual arts there should be NO repeatable settings. The ‘repeatability’ is a downstroke to exploration and, yes… that scary thing called discovery. Ditching ‘repeatability’ produces accidents – which by their very nature – (being not repeatable and therefore unique) — take on a higher place in a cultural hierarchical value system. They become ‘scarce’ goods in economic terms. Which is mo’ better. Unless you’re going to re-write modern economics. Nod-nod-Wink-wink.

Sennelier Crayon Drawing: Ed Vaughan, 2007

Austin as a Cultural Center? Not Likely, Brabantio.


April 14, 2011 10:39 AM | Link to this

I lived in Austin for 11 years (now live in LA) and during my time there, I enjoyed increasing national and international recognition for my work. By contrast, my experiences with curators and directors of Austin’s local galleries and larger institutions like Arthouse, and AMOA, felt amateurish by comparison. Petty and political, or simply out of touch. The only outreach seems to be repeat requests to donate work for fund-raising, followed by consistent refusals to exhibit the same work.

From my own experiences, and from talking with other artists who also worked with these institutions in Austin, the outreach to artists and the handling of their work is felt to be insensitive at best. Relationship-building with artists doesn’t seem to be part of the considerations. This was a sad article to read, but consistent with what I experienced as an artist when I was in Austin.

The shining, sole exception seems to be Russell Etchen of Domy Books who consistently curates shows that bring nationally-known artists, authors and performers while also promoting the work of local talent.


It’s sad, really. I’ve been in other cities that think Austin is just drunk on itself.  It’s sad when you’re that last at the party to realise — that for the entire party — your fly has been unzipped. That vision thing? Again?  Plus, does the world really need two LA’s? Seems infinitely cheaper to buy airfare to LA rather than culturally plagarise it… And for what purpose? Anytime anything is uncomfortable in it’s own skin — you have a problem. It can be solved but it’s going to take people with curatorial and cultural knowledge to pull it off. Austin’s has never seen anyone wearing that hat — only photos thereof. The notion is — wink, wink — let’s bring  what ‘we’ ‘think’ is culture and see if ‘we’ can pull it off… and so far, baby — for 30 years — they, Austin’s cultural elite, have gotten it fatally wrong. And from what I can see on the horizon — buckle up for another ten years of ‘me-too-ism.’  From a funding perspective  it’s starting to look like, in Austin, TX, if you want to promote the  ‘new, new thing’ — your going to have to dig down deep into your own pocket book to do so. And that promises to be exciting. Stay tuned…

Sometimes — throwing money at things isn’t a fix — sometimes problems require DEEP THOUGHT… the difference between ‘new’ and ‘old’ money. and what an abyss it is… follow me!

14 Apr 2011.


Ishinomaki, 2011
Oil on paper

2 Apr 2011.


Multi media project, 2011

Dimensions: 95″x21″

Review 2. 12 Aug 2010.


Leading Off: New Texas Talent

By PETER SIMEKJuly 30th, 20108:57am

As you may have noticed in our weekly rundown of gallery openings, this weekend the annual New Texas Talent show opens at Craighead Green, and it is always one of my favorite shows of the year (you can preview the work here). The juror for this year’s juried show of emerging talent is Thomas Fuelmer (pictured here in spacesuit). Although it is not yet available online, if you see a copy of A+C Magazine during your gallery hoping this weekend, you’ll find an interview with Fuelmer, who also is an artist and the director of educational programming at the Rachofsky House.

July 31, 2010 5 pm-8 pm
This exhibit features the work of Mark Aguhar, Cande Aguilar, Richard Avila, Michael Blair, Ben Brandt, Courtney Brown, Joseph Cohen, KC Collins, Ben Epsey, Natalia Ferber, Field Harrington, Erin Hernsberger, Kyle Jordan, Dan Lam, Diane McGurrin, Leigh Merrill, Seth Mittag, Nolan Mueller, Amy Newland, Rachel Obranovich, Adam Palmer, Amy Scofield, Cat Snapp, David Van Ness, Ed Vaughan, Saul F. Waranch, Rachael Webb, and Paul Young.

Map data ©2010 Google – Terms of Use

Review 1. 12 Aug 2010.


New Texas Talent – Mark Aguhar, Natalia Ferber, Rachel Obranovich, Cande Aguilar, Field Harrington, Adam Palmer, Richard Avila, Erin Hernsberger, Amy Scofield, Michael Blair, Kyle Jordan, Cat Snapp, Ben Brandt, Dan Lam, David Van Ness, Courtney Brown, Diane McGurren, Ed Vaughan, Joseph Cohen, Leigh Merrill, Saul F. Waranch, KC Collins, Seth Mittag, Rachael Webb, Ben Epsey, Nolan Mueller, Paul Young, Amy Newland at Craighead Green through September 4

Superb, interesting, odd, quirky, mind-boggling, maddening, joyous, strange exhibition. I keep going back, and I may or may not write about it besides here, but Craighead Green keeps finding great Dallas-area curators/jurors for these things, and it keeps being a fascinating exhibition. When we got there the first time — at the opening, friends were lined up and angry, saying it wasn’t much of a show, that there was nothing new about it, and it was terrible. But it was; there was; and it was not. I figure any show that pisses people off that bad has got to be pretty good to start with, and I liked pondering a bunch of the pieces, especially including these. I really don’t want to have to write about it, since I’ve written about it so many times over the years, and it’d really be nice to do something else this time around, but this is a show that would almost be easy to find good things to say about, if I wanted to do that. It may or may not be the best one they ever had, but it’s a good one, and I may have to go back yet another time, and find some more gems like these. So far, all the ones I’ve been drawn to photograph and write about have been difficult, maybe even worthy of an extension of Difficult Work, which I’ve had great feedback on so far. Seems appropriate. It’s a difficult show. — J R Compton

Show. 31 Jul 2010.


Post 3. 15 Jul 2010.