The Archive is a compilation of art and design projects, both realized and unrealized, press materials, teaching endeavors, experiments, and lectures. The design projects, spanning from 2019 to the present, primarily originate from 

, where Herzog serves as a partner and director. The Archive, as a whole, offers valuable context for the gradual accumulation of work over time, encompassing various mediums and disciplines. The filters are not intended to serve as a rigid classification system that sparks debates about the separation of art and design. Instead, they are designed as useful navigation tools to facilitate exploration within this expanding body of work.

Andrew Herzog is a multidisciplinary conceptual artist and designer. He’s a partner at School, a design studio founded by two designer-engineer-artist-types. His artworks have occupied museums, galleries, and city streets. He was previously a co-founder and partner at HAWRAF - a design and technology studio, and is an alum of Google’s Creative Lab.

Andrew Herzog | Archive

Artist Talk - Day(')s End

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)

Lifting a fallen tree from the ground back to its standing state. 

He Ain’t Heavy, He’s My Brother

Cutting Power (R-E-S-P-E-C-T)

 screened at MEWS NYC in Brooklyn, New York.


A Communal Line @ MEWS NYC

strand - Episode 031: Andrew Herzog

A shark's jaws rendered amongst a pile of rocks trapped in a silhouette composition.

At The Threshold To The Belly Of The Beast (Jaws)

Design and engineering for Cosmologyscape created by Kite and Alisha B. Wormsley for Creative Time. Cosmologyscape is an invitation to the public to dream. This multimedia and participatory public art project unfolds over the summer and fall of 2024, across multiple sites—both digital and public spaces. 

 worked closely with Kite and Alisha, to develop an identity and design language inspired by Lakota visual traditions and Black quilting references, creating a digital tapestry that evolves through the sharing of collective dreams. Everyone is invited to submit their dreams, which generate a unique quilt square based on their contribution. Each dream square contributes to the growth of the digital tapestry on the site.

Creative Time - Cosmologyscape

A Lockheed Martin F-35 Lightning II amongst a pile of rocks trapped in a silhouette composition.

Cortez The Killer (F-35)

 will expose students to design problems that are dimensional in nature and/or exist in a physical space. Students will develop an understanding for how to generate and design their own objects/products, displays, utilize effective materials and design the environments that these products ultimately live in, whether real or fictional. Students will be able to harness three-dimensional design principles to develop a series of explorations that relate to space and human behavior.

Pratt Institute - Product, Environment, Material (COMD-380-06)

The World Trade Center (Twin Towers) rendered amongst a pile of rocks trapped in a silhouette composition.

Prelude To Acts Of Diplomacy 

"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

A depiction of a wheel, seemingly one of humankind's most important inventions. The regularity with which we come into contact with this form and how it has shaped our world almost makes it seem as if it predates invention, but we know it doesn't.

Perhaps, The Wheel Is To Blame For Some Of This? II

The summit of Mt. Everest is rendered on a rock amongst a pile of rocks trapped in an equilateral triangle composition. 

Untitled (Mountain)

The Epic of Gilgamesh is one of the oldest surviving works of literature, originating from ancient Mesopotamia. It tells the story of Gilgamesh, the legendary king of Uruk, and his quest for immortality.

Gilgamesh (Snowman aka Jeezy)

A Goodyear Wrangler Workhorse AT™ tire rendered on rocks trapped in a square wheel composition. 

Perhaps, The Wheel Is To Blame For Some Of This? 

Three rocks trapped in a composition with a General Dynamics F-16 Fighting Falcon on one rock and a dove flying on the other. 

Flying/Falling

A rainbow made from a fallen Cherry 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 - III 

Two rocks trapped in a composition with an ice-cold glass of Coca-cola painted between them. 

Enjoy Coca-Cola!

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 

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

A Hole Is A Hill – Model

The “Mathematical Principles of Natural Philosophy” is a seminal work by Sir Isaac Newton, published in 1687. It is commonly known as “Principia Mathematica.” In this work, Newton formulated the laws of motion and universal gravitation, which laid the foundation for classical mechanics and revolutionized our understanding of the natural world.

Mathematical Principles of Natural Philosophy (Before Relativity)

Nobell Seeds is a division of Nobell Foods a company on a quest to create the world’s greatest animal-free cheese. Nobell Seeds works with independent farmers throughout the midwest to raise soybean plants to grow the dairy protein casein to make cheese. 

 concepted, designed, and built an identity design system that helped Nobell reach out to farmers and communicate the benefits of their growing partnership.

Nobell Seeds

The Wardian case and the automobile stand as juxtaposed tragic figures, intricately interwoven within the proposed installation. These two entities epitomize the arc of innovation turned environmental liability, shaping both global and local climates and cultures. Initially symbols of possibility and accessibility, they have since become two of the most environmentally detrimental inventions ever devised.



This work transforms a car into a sealed terrarium, where plants will grow over the course of the exhibition. The enclosed vehicle functions as a micro-environment, naturally establishing a water cycle to sustain the sewn plants.



Through this material juxtaposition, the installation highlights the deep interconnection of environmental systems—serving as both a cautionary tale and a call for systems thinking in a world where everything is linked.



This work was created as a proposal for the 

Ford Wardian

Painting a rock with seawater 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.

Another Impermanent Human Intervention

 carved into it is left on the coast of Maine as a physical geotag to be checked on annually.

Geo GeoTag 2023

Melon AI is a tech startup giving people the opportunity to create and train their own personal AI. 

 concepted and designed an identity and UI system that sought to make the underlying technology feel more affable, fun and approachable. Aesthetically we were drawn to the world of claymation for how the characters and textures provide a friendly tangibility.

Melon AI

Mailchimp, a business development and email marketing platform, wanted to create a resource to help black entrepreneurs realize their ambitions and rewrite the blueprint for small business success. 

 designed and built an editorial platform that offers readers the ability to navigate articles organically or through a categorized index.

Mailchimp – Bloom Season 2

EREMOCENE, a solo presentation of paintings by Andrew Herzog, is a collection of paintings presenting a convergence of several bodies of work that center on two things we can’t get back: time and natural resources. The scientist E.O. Wilson has argued that if we don't change the way we live, in the not-too-distant future, we will leave behind the Anthropocene and enter the Eremocene, the Age of Loneliness, an epoch marked by existential and material isolation on the planet resulting from humans having extinguished so many other forms of life. In the present, we live in a time when Western culture’s cumulative capitalistic actions, predicated on the foresight of human timescales, and the consequences of those actions, are coming to bear in front of our eyes. This body of work utilizes geological timescales. Instead of decades and centuries, rocks are measured in hundreds of thousands and millions of years offering a simultaneous view of the past and future now.

EREMOCENE

Today we are between a rock and a hard place. We exist during the Anthropocene. A geological epoch marked by human activity becoming the dominant influence on climate and the environment. Amongst the many concerns and inquiries into our situation is the question of the health of our earth. As we rapidly move from the throws of late-stage capitalism to the enthusiastic reinstating of the proverbial “reduce, reuse, recycle,” anthem our future remains uncertain. Things have to come from somewhere–but where do they come from? Our daily lives have become so smooth that we rarely, if ever, see the making part of the things we enjoy. Yet the making part of everything we’re surrounded by and the conveniences they afford come at a cost. The body of work, “The Situation We Find Ourselves In” is a series of paintings of rocks made of rocks. The paintings are made using only ground rock pigment and water. 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. This manifestation of the rock's existence, stuck to paper behind glass, will be but a blink of an eye in its life span. Just as our time here on earth, watched by the rocks, has the potential to be.

The Situation We Find Ourselves In (Composition 11)

 presents twin boulders, riddled with naturally occurring and human-ascribed differences. Graffiti is used as an anthropomorphic flora. This flora measures time with its growth and decay. Representations of anthropomorphized animals both real and imagined as well as caricatured earthly iconography serve as a means of compartmentalizing the perceived amorphous liminal space between humans and nature. The pairings of boulders stand as geological Stoics aging in silence.

Parable Or Palimpsest? (Monoliths c1, c2)

Parable Or Palimpsest? (Monoliths a1, a2)

Parable Or Palimpsest? (Monoliths b1, b2)

The Situation We Find Ourselves In (Composition 9)

A Primer: EREMOCENE serves as a companion piece to Andrew Herzog's solo exhibition EREMOCENE curated by Sáng Huynh. The exhibition presented a convergence of several bodies of work that center on two things we can’t get back: time and natural resources. The scientist E.O. Wilson argued that if we don't change the way we live, in the not-too-distant future, we will leave behind the Anthropocene and enter the Eremocene, the Age of Loneliness, an epoch marked by existential and material isolation on the planet resulting from humans having extinguished so many other forms of life. In the present, we live in a time when Western culture’s cumulative capitalistic actions, predicated on the foresight of human timescales, and the consequences of those actions, are coming to bear in front of our eyes. This body of work utilizes geological timescales. Instead of decades and centuries, rocks are measured in hundreds of thousands and millions of years offering a simultaneous view of the past and future now.
–

A Primer: EREMOCENE

The Situation We Find Ourselves In (Composition 10)

 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'

A rainbow made from a fallen Birch 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 At The End Of The Rainbow - I

Thesis is a year-long self-driven investigation into the research, prototyping, and design of an identified question, critique, or point of view. It provides an opportunity for design innovation and inquiry through the rigorous research and development of a capstone project, through various pathways across multiple platforms. The goal of the first semester is to research, develop, and articulate a thesis concept and create experimental prototypes, including designed presentations of research and process. Thesis 1, in particular, focuses on process, which includes primary and secondary research, ideation, prototyping, documenting, and writing about one’s own work.

Parsons School of Design Thesis 2022-2023

 designed a generative identity system and website for “nkwiluntàmën: I long for it; I am lonesome for it (such as the sound of a drum)” an immersive sound installation walk through the riverfront grounds of Pennsbury Manor by artist Nathan Young. The installation guides listeners across the historic site, experiencing a blend of music, voices, and environmental recordings. The original composition amplifies Indigenous agency, honoring and reimagining environmental song-making traditions that have endured through his tribe’s diaspora across North America.

nkwiluntàmën

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.

Shaping Stone From Stone

Herzog was included in INTERVIEWS, designed and created by 

. INTERVIEWS is a collection of eleven Proust interviews from creatives who inspire the work at 

. Interviews included also featured Quinner Baird, Archie Lee Coates IV, Ronnell K. Culbertson, Saeed Ferguson, Jared Ray Johnson, Che-Wei Wang & Taylor Levy, Livio Melo, Sam Valenti IV and Antares Yee. 

INTERVIEWS by suuuperposition

The New York Times wanted to create an interactive article that celebrated the annual Scrips National Spelling Bee. 

 concepted, designed, and built an interactive article that challenged readers to guess 10 words from past Scripps Bee competitions, each revealed after a series of clues.

New York Times – What's in a Word

A Report: Blue Sky Or Sky Blue?

 screened at Arquipélago Centro de Artes Contemporâneas in Ribeira Grande, Azores, Portugal.


A Communal Line @ Arquipélago Centro de Artes Contemporâneas

Today we are between the rock and a hard place. We exist during the Anthropocene. A geological epoch marked by human activity becoming the dominant influence on climate and the environment. Amongst the many concerns and inquiries into our situation is the question of the health of our earth. As we rapidly move from the throws of late-stage capitalism to the enthusiastic reinstating of the proverbial “reduce, reuse, recycle,” anthem our future remains uncertain. Things have to come from somewhere–but where do they come from? Our daily lives have become so smooth that we rarely, if ever, see the making part of the things we enjoy. Yet the making part of everything we’re surrounded by and the conveniences they afford come at a cost. The body of work, “The Situation We Find Ourselves In” is a series of paintings of rocks made of rocks. The paintings are made using only ground rock pigment and water. 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. This manifestation of the rock's existence, stuck to paper behind glass, will be but a blink of an eye in its life span. Just as our time here on earth, watched by the rocks, has the potential to be.

The Situation We Find Ourselves In (Composition 8)

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.

A Communal Line 

 developed a bespoke typeface for Hii Magazine called DAWs based on digital audio workstation (DAW) interface, which also influenced the Hii Magazine logo and overall identity system.

Hii Magazine – DAWs Typeface

This project was proposed on for the island of São Miguel Island in Portugal. Using calcium carbonate-based paint* to paint a rock white to look like a glacier. This work is ephemeral, after it rains the calcium carbonate will be washed away confirming the reality of the object. The moral drawn from the fable of 

 is that one's basic nature eventually shows through the disguise. Scientists and policymakers around the world are exploring the use of several geoengineering techniques to alter the environment in ways that could reduce the effects of climate change. While the long-term effects of geoengineering the environment remain largely unknown, humans continue to see themselves as the subject of an object-rich environment. However foolishly and futile, we see ourselves as having the ability to author our own environment–to dress a rock in glacier’s clothing.
–

*Shells are made of calcium carbonate, in the mineral form of calcite or aragonite. Calcium carbonate (CaCO3) minerals secreted by marine organisms are abundant in the ocean. Calcium carbonate is naturally present in water,  beneficial (reduces acidification) and poses no hazard, there are no regulatory limits.

A Rock In Glacier’s Clothing

Mailchimp, a business development and email marketing platform, wanted to create a resource to help introduce people to local small businesses and nonprofits and encourage them to #GiveWhereYouLive. School designed and built a website to help uplift nonprofits and small businesses doing good in your neighborhood.

Mailchimp – Give Where You Live

Graffiti, as a marker of time, draws a parallel between painted forms and the growth of native plants. Paint layers vertically, much like the ascent of plants, transforming barren spaces into colorful environments. In a manner reminiscent of how native plant species quietly compete for space, often outcompeting faster-growing species, graffiti can signify strength and dominance in an area. Similar to the lifecycle of wildflowers, the ebbs and flows of these silent competitions are often seasonal, leaving behind remnants of the past for the future to propagate.

Geological Time Slices

Zadig & Voltaire, a French fashion house with stores around the world, was opening a new store on Madison Avenue in NYC and wanted to create an FW23 campaign to announce their arrival. 

 concepted and directed a digital campaign as if it were shot in Google Maps Street View around New York City.

Zadig & Voltaire FW23

Painting a rock with river 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. 

Finally, An Impermanent Human Intervention (NYC)

Spalding Nix – Artist Talk

An ephemeral intervention comprised of a car blocking a single road in a small village in the south of France. 

c'est la vie (The car is stuck)

The Situation We Find Ourselves In (Composition 4)

Today, we are between a rock and a hard place. We exist during the Anthropocene. A geological epoch marked by human activity becoming the dominant influence on climate and the environment. Among the many concerns and inquiries into our situation is the question of the health of our earth. As we rapidly move from the throws of late-stage capitalism to the ad nauseum repeating of the proverbial “reduce, reuse, recycle” anthem, our future remains uncertain. Things have to come from somewhere - but where do they come from? Our daily lives have become so polished that we rarely, if ever, see the making part of the things we enjoy. Yet the making part of everything we’re surrounded by and the conveniences they afford come at a cost. Andrew’s latest body of work, “The Situation We Find Ourselves In,” is a series of paintings of rocks made of rocks. The paintings are made using only ground rock pigment and water. Similar to the glacial movement of rock, the flow of water, not the artist's hand, moves the pigment around the paper ultimately settling and reanimating the rock. In a circular journey, these rocks go from heavy to a nearly weightless flat representation of themselves. This manifestation of the rock's existence, stuck to paper, will be but a blink of an eye in its life span. Just as our time here on earth, watched by the rocks, has the potential to be.

The Situation We Find Ourselves In

Mountains form over geological time as Earth's crust collides and buckles upward, much like the hood of a car in a head-on crash. On a vastly smaller scale and exponentially faster timeline, a similar process unfolds daily at Revolution Recycling, where mountains of recyclable material take shape. These artificial peaks are as much a part of nature as those formed over eons. While the topography of RR is ephemeral, the materials that compose it are not. Building materials are not just for building—they are for decomposing, slowly digested by soil bacteria over centuries.



For the past three centuries, particularly in Western culture, humans have scaled mountains as an act of conquest—a colonialist tradition of subduing nature. But in the Anthropocene, we have already conquered the natural world, leaving our imprint on everything from the weather to the air we breathe, even to microplastics found at the summits of the highest peaks.



One way to confront the flaws of our anthropocentric perspective is to see the mountains of RR as surrogates for the idealized, untouched landscapes we envision. A video work documenting a “mountaineering expedition” through these recycled peaks offers viewers a new way to engage with the magnitude of waste—to experience it at the scale of walking. While we struggle to grasp the quantitative enormity of human waste, seeing it as a traversable mountain range makes it viscerally comprehensible. These mountains, though fleeting, are an undeniable part of our planetary landscape.



Climber

The Situation We Find Ourselves In (Composition 5)

The Situation We Find Ourselves In (Composition 6 & 7)

 offers an interactive experience made possible by static media. While the words represent French /English binaries, the viewer's ability to reveal each word as they move around the piece illustrates the impossibility of binary constructs and the multitude of linguistic realities in between HERE and ICI. HERE/ICI is a permanent sculpture commissioned by the SCAD Museum of Art for SCAD Lacoste's Promenade de Sculpture. 

This and/or That? (HERE/ICI)

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. 

Finally, An Impermanent Human Intervention (Maine)

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.

Blue Sky Or Sky Blue? (Oregon)

In an effort to make the archive more accessible, a complete revamping of the Studio A.H. portfolio site took place between 2021 and 2022. An added selected work section helped to surface the most pertinent projects. This is 

 the last entry showcasing portfolio evolution. 

2022 Portfolio Site

2019-2020 Thesis course description: Interaction and motion offer entry points to viewers and participants not unique to our time but increasingly more utilized and familiar. The necessity to think about design through the lens of participation and narrative will be important for designers tasked with creating how we’ll evolve and utilize visual communication in the future. In this course, students will approach design through a multidisciplinary view that examines the interplay of interaction, motion, and programming in design. There will be a strong emphasis on experimentation, presentation, and process. In addition, we will discuss motion and interactive-based principles, practitioners, and case studies at the beginning of each session. Prerequisite: interaction and motion design course encouraged.

SVA Thesis 2021-2022

These Things Take Time - Year III

How School injects humanity into digital spaces (Creative Review)

An artist talk given at vaga - espaço de arte e conhecimento in Portugal during the filming of 

The talk focused on questions of art history and art making. 

Questions over Answers

Hii Magazine, which was launched by audio professionals aiming to connect a global community, elevate sound as art, emphasize the importance of listening, and make concepts of audio accessible, wanted to create a destination for sound culture and the listening-obsessed. 

 designed and built a visual identity system and editorial platform for sound culture and the listening-obsessed.

Hii Magazine

Mailchimp – Bloom Season (It's Nice That)

Dressing a tree with freshly fallen snow as high as was possible to reach. Both physical and ephemeral this exercise is an impermanent representation of a singular human form imposed on an environment. 

As High As I Could Get

, is a freestanding structure that utilizes the greenhouse effect to create an enclosed space naturally warmer than the outside temperature.

Hyperobjects, a term coined by contemporary philosopher Timothy Morton, describes objects that are so massively distributed in time and space they transcend spatiotemporal specificity. Climate change is a hyperobject. While the effects of climate change become present when they manifest as extremes–flooding, wildfires, hurricanes–more subtle planetary rhythms have, for decades, shown the effects of westernized overconsumption and disregard for the natural circular systems. In a time where only the most viral cuts through the noise of our visually overstimulated lives–forest fires, city blocks flooding, aquatic species disappearing–we need to recognize nuanced changes that are happening around us on a daily basis. This work creates an opportunity to amplify the subtle nuances we’ve missed and exercise our ability to perceive what is going on around us.

The greenhouse effect acts as a conceptual double entendres. It is both terminology that we hear associated with decades of pollutants streaming into the atmosphere as well as the scientific theory that grounds the temperate experience in this work. This work literally represents what is happening to the planet at a very slow rate in an isolated amplified form. It transforms a hyperobject–the slow rise in temperature that is seemingly imperceptible–and makes it felt. Greenhouse structures can create a space that is up to 20 degrees Fahrenheit warmer than the outside temperature. The work asks viewers to pay attention, heighten their senses, and feel this change in temperature from the outside to the inside. 

Climate Changing Room

 resurrects the recycled building materials in the waste stream to erect a house which, pays homage and creates a space for reflection upon the materials that account for its existence. The structure draws inspiration from the form and function of the Quaker Friends Meeting House architecture. The Quaker Friends Meeting House is an architectural paradigm known for its absence of liturgical symbols and extreme simplicity–inherently creating a space for equality, community, and peace. Meeting houses are designed to offer a space for quiet reflection. This architectural form is woven into the history of the northeast United States with a few of the most notably historic structures residing within the city limits of Philadelphia. The interior walls will be covered in a collage of reanimated materials–pieces of drywall, tiles, wood paneling along with a myriad of to be determined materials. The structure will act as a viewing room for the materials now suspended in concert, isolated from the waste stream, so their orchestral beauty is visible. A simple bench will span the center of the structure allowing for viewers to sit and reflect.

Meeting House

Mailchimp – Bloom Season

, an artist working with artificial intelligence, race, gender, and history, wanted to develop a way to create nuanced datasets that center and honor lives, cultures and values often under considered or ignored in the technosphere. 

 designed and built a visual language and app to collect donated data from people hoping to create more descriptive, comprehensive, and supportive datasets that represent our communities with complexity, love, and understanding.

Binary Calculations Are Inadequate

 in collaboration with anthropologists Anna Tsing, Jennifer Deger, Alder Keleman Saxena and artist Feifei Shou conceived and created the Feral Atlas. 

 is an online/interactive platform for scientific research into and research dissemination about feral species and feral dynamics in the Anthropocene. It contains more than 100 essays, articles, analyses, and artworks by leading natural scientists, human scientists and artists.

The Feral Atlas

 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. 

These Things Take Time - Year II

 carved into it is left on the coast of Maine as a physical geotag to be checked on annually. 

Geo GeoTag

The New Yorker’s newest game, Name Drop, needed an experiential announcement and the Puzzles and Games dept. needed a new page to showcase all of their current and future offerings. 

 designed and built a webpage that draws on the New Yorker’s heritage to highlight its newest game, Name Drop as well as created a home for the rest of the Puzzles and Games dept that plugs into the larger New Yorker site infrastructure.

The New Yorker – Puzzles & Games Dept. 

An ephemeral work, a fallen tree covered with green seaweed gathered in low tide on the coast of Maine. Photographed over a week as the color faded from the seaweed - in the beginning, blending into the greenery of the background then eventually, as the seaweed lost its color, blending in with the fallen tree.

Now You See Me…

Dropping a stone roughly the width of Herzog's body between himself and the camera creating an ephemeral optical illusion of body and stone intertwinement. 

A Stone Passes Through

Ubiquitous Languages

Zadig & Voltaire – Art is Hope

Creative Lives In Progress - Pep Talk

*an obviously incomplete guide, but definitely some worthwhile insights.

Andrew wrote a book! Join us for a lunchtime talk and hear about the time he painted a 1km circle around the National Museum of Art in Romania, and his process creating this book as the foundation for a system of future books documenting works not yet made.

HOW TO: Make Public Art

The second iteration of the School website featured project case studies and an interactive widget-filled homepage. 

School Website V2

Andrew worked with his dear friend of Santiago Carrasquilla of 

 to make a video to introduce his new book to the world. Music by 

 and voice-over which was specially curated from John Berger’s BBC series “Ways Of Seeing”. 

A Report: Circle Or Curve? – Music Video

 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?

(Y)ours Press, a new small independent publisher, wanted to establish themselves as a waypoint for access to things we can learn from and make space for sharing knowledge, culture, and stories. School used a lenticular effect to create an identity system that made visible the cooperative nature of (Y)ours Press.

(Y)ours Press

The Gates Foundation and Amplify, a digital education platform, wanted to test the feasibility of turning a paper teaching methodology into a digital tool to facilitate more equitable math discussion. School facilitated a cyclical process of designing, prototyping, and testing to produce a digital 5Ps tool for teachers to use in their classrooms.

The Gates Foundation

An Interview with Designer, Andrew Herzog

Haus, an independent spirits producer, wanted to create a website that was educational and solution-oriented to raise the standards in the alcohol industry by shedding light on current practices. School designed and built a website that illuminates some of the murkier details that go on during the production of most commercial alcohols.

Haus - Know Your Alcohol

Shoveling snow into a small hill and leaving a hole. An ephemeral act of displacement, creating a hole to create a hill highlighting the equilibrium of materials–everything comes from somewhere and everything goes somewhere.  