Studio A.H. is the art and research practice of Andrew Herzog. His 

 examines the constructed boundaries between 

. Fatherhood and caregiving shape these inquiries, informing investigations into masculinity, lineage, and the proliferation of man-made systems amid the 

 for his work, he draws on his background in 

recognizable materials, methodologies, and mechanisms

fellowship at the American Academy in Rome

MuseumsQuartier Wien Art & Ecology residency

, among other awards and residencies. His paintings, films, sculptures, and installations have been exhibited internationally.

Deer Hunter @ Prix Ars Electronica Festival

Deer Hunter

Shaping Stone From Stone

A Communal Line 

Gestures of Exchange at MuseumsQuartier Wien

Blue Sky Or Sky Blue? (Philadelphia)

Circle Or Curve?

Finally, An Impermanent Human Intervention (Maine)

A Communal Line – ATL

Circular Exercises

A Communal Line, 2022

Deer Hunter screening as part of the Prix Ars Electronia Festival program at Johannes Kepler University Linz followed by a Q & A discussion with artist, Andrew Herzog. 

A single boulder is precariously positioned within the frame of an archetypal house form. The frame, hand-carved to suggest the texture of roof shingles, renders the structure as both image and object.

Home (#1)

Spurgeon R. Carter III

Tomas Ornelas

 is an assemblage of archival footage, family home videos, and speculative documentary produced using generative AI. The film explores masculinity, inheritance, and nationalism through the artist’s relationship to the men in his family: Italian immigrants who fled fascism for America, his terminally ill godfather, and his newborn son. Returning to Italy to film in the landscape his ancestors once left, the work traces a circular movement between origin and destination.

At the center of the film is an AI-generated American white-tailed deer, introduced into documentary footage of Rome’s EUR district, known for its monumental Fascist-era architecture. Created using a custom model trained on the White-tailed deer species, the deer produces moments of ecological fiction—scenes that appear observational but are constructed through machine learning.

These sequences are juxtaposed with archival footage of an “American Hunter” reading from José Ortega y Gasset’s 

, alongside childhood home videos of the artist’s family tracking deer through forests. The deer becomes a figure through which the film considers beauty and violence, inheritance and masculinity, and the ways humans construct and project ideas of the natural world.

A Communal Line is a film realized in collaboration with the residents of São Miguel island. The film, which takes place over the course of a day, shows the aggregation of a walking line starting with one, building to twelve, and ultimately dissipating–traversing the landscape in all its forms. A voice-over narration spoken in Portuguese is an amalgamation of the artist’s ruminations, references to writings, and intimate conversations with Azorian residents.

but more broadly features the process of making all of the rock paintings in the exhibition, 

These paintings are made using water and rock pigment sourced from stones found in New York City parks and ground into pigment in the studio. Similar to the glacial movement of rock, the flow of water, not the artist's hand, moves the pigment around the paper ultimately settling–reanimating the rock. In a circular journey, these rocks go from heavy to a nearly weightless flat representation of themselves.

The exhibition presents six selected works by winners of the Prix Ars Electronica Golden Nica 2026 and the European Commission’s S+T+ARTS Grand Prize 2026 at the Lentos Kunstmuseum. 

With a strong sense of urgency, the works on display challenge our understanding of what it means to be ​“human” – a concept we long took for granted. They reconsider it from a wide range of perspectives: from bodily perception and the logic of capitalist technologies to the new autonomous creativity of AI, as well as history, geopolitics and the climate crisis. Together, the award-winning works reveal that what we consider ​“human” is not fixed, but constantly evolving. In doing so, they give powerful form to this year’s festival theme, NEGOTIATING HUMANITY.

NEGOTIATING HUMANITY: Prix Ars Electronica exhibition at Lentos Kunstmuseum

The Sinclair DINO balloon first appeared in the 1963 Macy’s parade. It became an Honorary Member of the Museum of Natural History in 1975. One of the several versions of Constantin Brâncuși's 

can be seen at the Philadelphia Museum of Art. The two lovers embrace while being made of the same stone. 

A Circular Economy

Circle or curve? was an exploration of the viewer’s and artist’s shared responsibilities and roles in an artwork. Neither the artist nor viewer can see the entire circle from the ground. To complete the artwork, both the artist and the viewer must rely on their ability to envision the whole circle from the point where they stand. Comprehension of the work relies on continual assessment of their path as they walk the drawing. The viewer re-enacts the process of the artist to view the whole work – conferring to the viewer the responsibilities of the artist.

A rainbow made from a fallen Black Walnut tree trunk cut and shaped into an arch and spray painted. A polysemantic narrative in the form of a sculpture that reanimates a present-day natural affordance. 

Alive At The End Of The Rainbow - II 

Ryan Strand Greenberg

Blue Sky Or Sky Blue? is a physical exercise of Herzog’s concept - “prioritized sight.” Valuable, yet malleable, prioritized sight is how we choose, consciously or unconsciously, the things we see; what we engage or empathize with; and what we understand or misinterpret, with varying degrees of implication. The installation consists of four large-scale mirrored structures. Each mirror is elevated at a forty-five-degree angle to reflect the sky. The mirror’s surface contains a subset of blue dots. As viewers walk through the installation, viewing the sky from different perspectives, the structures are used as instruments of measurement. Throughout the day, the blue dots appear to at times match while at other times contrast the color of the sky becoming invisible and visible through the eyes of the viewer.

The Last

"I lost a significant figure in my life in the fall of 2024. The process of losing them felt both unmercifully slow and yet too fast to fully reckon with. His importance in my life was shaped by examples of a life well lived. He opened more doors in my small world than I ever had the chance to thank him for. Simultaneously, I welcomed my first child this fall. Having been intimately immersed in seemingly both ends of this circle of life so simultaneously, I can’t say I gleaned much more than an iota of a realization of the staggering simplicity of it all. At times the simplicity has been hard to square. For me, one tiny bit of comfort amongst all this has been an adoption of a piece of the first law of thermodynamics as a sort of mantra: energy does not disappear it only changes form."

Day(‘)s End (Funeral Pyre)

Painting a rock with sea water changes the color of the rock to a darker shade while the rock is wet. Ultimately, this ephemeral exercise is futile as the sun warms the rock and causes the water to evaporate turning the rock back to its original color. 

A diffuse, monolithic boulder rendered in rock pigment emerges from a dark black field. 

Boulder #1

A model for an unrealized intervention in which one pine tree supports another. Created as a speculative proposal, the work embraces the possibility that some ideas need not be realized to exist meaningfully.

Lean On Me – Model

Ryan Gendron

Blue Sky Or Sky Blue? (Oregon)

"Barney was my paternal grandmother’s friend. As a kid, I distinctly remember visiting my grandmother and Barney in Philadelphia. My grandmother, a daughter of Irish immigrants, was a widow who raised 7 kids in that home. She was an absolutely sweet and loving woman who was no stranger to adversity throughout her life, but I never knew it. I imagine she and Barney, a yellow-headed amazon parrot, natively from Mexico and Central America, shared more than we knew. Yellow-headed amazons are known for being “one person birds” - bonding to one human, to whom they become fiercely loyal. They have been kept for centuries because they are among the parrots that “talk” best. And Barney did talk. He said mostly what you’d imagine, but I often wonder about the unspoken bond that existed between the two of them as they spent their days together.

Barney, The Parrot, From Philadelphia

 began with the inclusion of the drone into Herzog's process. The new tool created a new perspective plain for Herzog to work on. The driving concept for the work is the ability to use walking, something we do every day, as a medium for mark making – to his satisfaction, making something from nothing. When enacted in the context of art, walking becomes an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. The viewer, if they are able-bodied, walks. By that fact, everyone who walks posses a tool of art making.

Walking Lines

 is an unknowably long project that collaborates with local ecology and native wildflowers to draw a line that is best experienced by moving around it. As much as Herzog is the initiator of this work he is also a mere participant in its existence. Every year for as long as he lives the work lives on–changing, adapting, flourishing, diminishing, and reproducing. Year I saw the initiation of the project and the first flowers. 

These Things Take Time - Year I

A Communal Line is a participatory public artwork by Andrew Herzog. This project is an evolution from his Walking Line photography series, where he positions walking, something we do every day, as a form of drawing. In this public artwork, instead of walking alone and compositing his solo image to make visible the line he draws, he invites anyone to participate in the work and share the role of the artist - subverting the role of authorship in a public artwork. Following a simple framework, everyone gets a chance to steer the line and draw by walking as they please. In A Communal Line, everyone who participates and walks is an author in the work - a collaborator. To further this idea of shared authorship and the necessity of artifact creation a certificate of authenticity stating the rules of the work is distributed, editioned, and signed by both Andrew and each one of the participants.

 began with the inclusion of the drone into Herzog's process. The new tool created a new perspective plain for Herzog to work on. The driving concept for the work is the ability to use walking, something we do every day, as a medium for mark-making – to his satisfaction, making something from nothing. When enacted in the context of art, walking becomes an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. The viewer, if they are able-bodied, walks. By that fact, everyone who walks posses a tool of art-making.

Walking Line – Circle

School

 is the first in a series of books by Andrew Herzog documenting one of his public art installations. The 

 dedicates a section to each step (framing ideas, affordances, process, realization, and references) that went into Herzog’s 2018 installation, 

 in which he painted a meter wide, one-kilometer diameter circle around the National Museum of Art of Romania. 

Softcover, 160 pages, 94 b&w, and 64 color, 9.75 × 11.75 inches


A Report: Circle Or Curve?

A model for an unrealized earthwork. Digging a hole to create a hill for people to traverse. 

A Hole Is A Hill – Model

Circular Exercises is a film work documenting three ephemeral installations. Herzog utilizes many tools that are commonplace. When enacted in the context of art-making, these tools become an accessible medium to work with. This accessibility opens up a relationship between the viewer and the artwork. Because of that fact, the viewer posses these “tools” of art-making. In Circular Exercises, that logic is applied to drawing.

“Drawing(s) Made By Walking” simplifies the necessary means to draw, a series of drawings made by walking on paper using the dirt picked up by shoes to draw. 

Drawings Made By Walking

Building off the ideas first made visible in 

is a series of shapes drawn by walking. The shapes in this series represent universally recognizable fundamental shapes and symbols of value.

Something And/Or Nothing?

Elie Andersen

Harry Grundy

Mahya Soltani

Adriana Gallo

Gideon Jacobs

Fei Liu

Ari Melenciano

Emily Singer (Filmmaker's Cooperative)

Carley Rickles

Kyana Gordon

Waqas Jawaid & Andy Chen (Isometric Studio)

 staged in concert with Andrew Herzog’s exhibition 

 is both a time and a place. But how do we create 

? We live in the shadow of the past and its burden on the future–simultaneously attempting to reconcile the past and anxious about our plans for the future. In defiance of that, we want to acknowledge 

 and gather to learn, teach, and share with one another. Our programs take into consideration the implications, affordances, anxieties, and opportunities of the past and future to create space for 

WHAT NOW? 23'

There is a myth that moss naturally grows facing north in the Northern Hemisphere. As everyone from citizens to tourists traverses NYC they employ various wayfinding interactions. Moss was installed around NYC, facing north, to provide people with an unconventional natural wayfinding system — if they were familiar with the myth.