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

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

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)

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

Alive At At The End Of The Rainbow

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

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

A Report: Blue Sky Or Sky Blue?

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)

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, 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

, 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.  

A Hole Is A Hill

An experimental back-and-forth from New York-based artist 

 Exploring the raw potential of nature. The project lives on 

New Pangea Project

is an unrealized proposal. Football is one of the most international sports. The visual and structural language of the sport transcends country borders, race, economic status, religion, as well as many other sociocultural boundaries. Throughout the world, at different levels of play, the pitch takes on multiple shapes and sizes. Goals are rendered with sticks, metal tubes, and everything in between. 

 utilizes the language of football to create commonality and alters its agreed-upon structure to create art. 

is a participatory art installation that takes the form of a publicly accessible soccer field rendered in an anomalous layout. The altered pitch necessitates that its players approach playing on it differently, activating their ability to think creatively, making an artist out of an athlete. My dream would be to host one big game that is played on the field with professional or semi-professional players, but aside from that singular game, it would be amazing to host a youth league and ultimately have the field open for the duration of the installation so communities could organize their own play when the field is open.

Performance Art

What 18 top designers bought for their homes during COVID-19

 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

Educated Guess: How one thing leads to another

As part of the Publik Library's first Book Fair, Andrew delivered a fast-paced lecture highlighting the things (books, films, people, artworks, etc., etc.) that have had a significant impact on his life and career. 

These Things Are (Y)ours

To bring to life the information that’s housed in the Publik Library we decided to organize a series of live-streamed virtual talks called the Book Fair. For each volume of the Book Fair, we commissioned a different artist to collaborate with us to create its visual identity. For the first volume, we worked with 3D artist & animator Zuheng Yin.

The Book Fair - Vol.01

ARTMAGAZIN Interview

In an effort to separate the wheat from the chaff, the 2020 portfolio site update is merely the addition of a “Featured Projects” section at the front of the site to showcase projects that Andrew thinks deserve a bit more attention.

2020 Portfolio Site

At the onset of the COVID-19 pandemic, School produced a series of virtual walks to encourage our fellow humans to stay inside and uphold the protocols that were being set in place. The Virtual Walks utilized Google Maps and in a tongue-in-cheek way attempting to keep the mood light in a trying time. 

A Virtual Walk

2019-2020 Thesis course description: Developing a portfolio that reflects design and conceptual skills across digital disciplines is the goal of 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, voice, and process. In addition, we will discuss motion and interactive based case studies at the beginning of each session. Prerequisite: none, interaction and motion design course encouraged.

SVA Thesis 2019-2020

For the Book Fair Vol.02 we collaborated with artist & illustrator George F. Baker III to create a world out of the Publik Library.

The Book Fair - Vol.02

We’re tired of seeing. We’ve put our trust in powers and forces that have simplified narratives to satiate our need to scrutinize them. Photography was once thought to play the role of a bipartisan storyteller - an objective truth-teller. This was, of course, never true. What is real documentation and what is fake documentation has grown from a trivial concern to a constant question. Deepfake software allows anyone to be made to say anything. The accessibility of the internet has been taken advantage of – to the point that you can find anything to suit your beliefs if you enter the right search query. Everything is networked. We can no longer claim ignorance because we have access to a limited network of information on the internet. Yet, we are still taken advantage of by images and information. It is our lack of visual athleticism that is being taken advantage of. We need to exercise our vision. The same way a runner trains to run the marathon we need to equip ourselves in the effort to see. Photography can no longer assume the position of simply documenting the truth. Documentary photography has an obligation to make its manipulation known. Now more than ever. Documentary photography should train us to see what is real. To equip us with the visual fitness necessary to see.

Surkov's Rock #1-8

Publik Library Launch (Design Milk)

Space Us Brand Launch (Fast Company)

In collaboration with Justin McElderry and Elliot McKnight, we initiated the Publik Library to serve as a publicly accessible digital resource that consists of an ongoing inspiration library and talk series.

Publik Library

School University (It's Nice That)

a-report-circle-or-curve.pdf

 was invited to participate in an Instagram residency giving us access to an account with 14k+ followers for a week. We had complete freedom to use the account however we saw fit. We turned an Instagram residency into a performative experiment simulating what it might be like to utilize social media platforms as an interactive educational tool.

School University

A project originally proposed for Spring Break Art Show, the installation documents the relationship between viewers and art through viewers' participation. It culminates in a data aggregate that highlights the circumstances from which viewers approach artworks and ultimately frame their experiences.

Effect Or Affect?

We can’t fly. Humans, unaided, can not fly. With the assistance of airplanes and aerospace engineering, we can. But, this is a costly and arduous path to taking flight for the human being. Flight represents and unattainable human attribute. To achieve it we must enact our ability to dream and create opportunity. 

 is a work that uses the minimum to achieve the impossible. Part earth art sculpture, part performance artwork 

 consists of using materials that are available within the given art space - logs, dirt - to build a set of ramps that the artist will jump over with a dirt bike, taking flight and then falling back to earth.

Flying Or Falling?

Artist Andrew Herzog Examines Empathy and Engagement with New Interactive Art Installation at Race Street Pier

How to design the end of a studio’s life

Portal by Facebook, a smart camera that aims to make staying connected a little bit easier, School was asked to concept and create a campaign that showcased Portal’s unique feature set. School created a campaign of eleven videos pitting Portal’s features against makeshift solutions for video calling solutions that might look familiar.

Facebook Portal Ads

Space Us, a culturally focused startup, needed an identity and web platform to scale their business of turning vacant storefronts and underutilized spaces into galleries, community spaces, and places to gather around ideas. We created an identity system that highlights vacant space and designed and built a web platform that makes finding space for your ideas simple.

Space Us

Andrew was included in a panel discussion about the role of education in art. The panel included the artists Bradley Ward, Jamaal Peterman, and Jon Key. They discussed education both as a subject matter for making work as well as it’s necessity and the affordances it provides.

"Artist Talk"

“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

Andrew Herzog is an artist, designer, and entrepreneur. He'll talk about the process of developing and balancing these titles throughout his career. That process has led him to work within Google’s Creative Lab designing AI-assistive drawing tools, co-found the design and technology studio HAWRAF, and install a kilometer in circumference painted circle around the National Museum of Art of Romania, just to name a few. He doesn’t have all the answers, but he’ll share lessons learned and personal anecdotes gleaned from these experiences along with a few outstanding questions of his own.

Questions & Iversons

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.

A Communal Line – ATL

Blue Sky Or Sky Blue? (Philadelphia)

2018-2019 Thesis course description: Developing a portfolio that reflects design and conceptual skills across digital disciplines is the goal of 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, voice, and process. In addition, we will discuss motion and interactive based case studies at the beginning of each session. Prerequisite: none, interaction and motion design course encouraged.

SVA Thesis 2018-2019

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?

[Fast Co.] Spend a day inside the design studios you wish you worked forSpend a day inside the design studios you wish you worked for

O.N.S Clothing interview

A Communal Line - 公共线

School is a studio founded by two interdisciplinary designer-engineer-artist-types. They were previously co-founders of HAWRAF, and are alums of Google’s Creative Lab. They called the studio “School” because continual learning and experimentation are foundational pillars of their process and identity. So far their work has taken the form of websites, brand identities, books, videos, installations, bots, illustrations, apps, advertisements and tools.

School

At this point in most designer's careers, they show much less work - only the good stuff - but Andrew thought the idea of an archive was a potentially useful one. As he finds himself involved in projects of varying scopes and medium the archive provides context for how one ends up in this multidisciplinary situation. Rather than shuttering the bad work and gloss over the history of his work he is showing pretty much everything he’s put out into the world - the good, the bad, and the ugly.

2019 Portfolio Site

Public Works is a platform, created by School, that showcases and archives monthly live streams from different creative studios/agencies/companies that gives viewers a “day-in-the-life” perspective from places that are doing interesting work.