Aimee Hertog is a multidisciplinary artist whose practice synthesizes the structural logic of sculpture, the tactile history of textiles, and the fluid nature of digital photography. Her work is characterized by a vibrant and intentional use of color across her paintings and prints, which helps anchor her exploration of the friction between domestic memory and the chaos of contemporary life.
Hertog’s work is rooted in an MFA from Montclair State University and a foundation in both painting and sculpture from Bennington College. She has long been recognized for a “haunting yet humorous” lens—a quality noted by The New York Times, which praised her early work for its “wicked” ingenuity and ability to find transcendence in the incongruous.
After a period of introspective development and studio evolution, Hertog has returned to public exhibition with a new body of work that matures her signature interest in the juxtaposition of digital precision and tactile material. She is currently working on a series of “Hybrids”—artworks that combine ink drawings, acrylic paintings, and hand-pulled prints (including cyanotypes and Gelli prints) with photos taken on her iPhone. Her process integrates these paintings and monotypes into digital compositions, mirroring a “conversation across time.” This duality reflects the frantic, chaotic pace of the digital age contrasted with a persistent, universal yearning for a higher spiritual state.
Hertog's work has been exhibited and reviewed nationally, earning accolades such as Best in Show from Guggenheim Museum curator Nat Trotman. She has curated several shows in the New York area. Her pieces are held in the Newark Public Library collection and have been featured in Hyperallergic, The Star Ledger, and The Huffington Post. Recent exhibitions include the Brand Library & Art Center, Sarasota Art Center, and the New Orleans Photo Alliance. Hertog currently lives and works in the Nashville area.
Hertog’s work is rooted in an MFA from Montclair State University and a foundation in both painting and sculpture from Bennington College. She has long been recognized for a “haunting yet humorous” lens—a quality noted by The New York Times, which praised her early work for its “wicked” ingenuity and ability to find transcendence in the incongruous.
After a period of introspective development and studio evolution, Hertog has returned to public exhibition with a new body of work that matures her signature interest in the juxtaposition of digital precision and tactile material. She is currently working on a series of “Hybrids”—artworks that combine ink drawings, acrylic paintings, and hand-pulled prints (including cyanotypes and Gelli prints) with photos taken on her iPhone. Her process integrates these paintings and monotypes into digital compositions, mirroring a “conversation across time.” This duality reflects the frantic, chaotic pace of the digital age contrasted with a persistent, universal yearning for a higher spiritual state.
Hertog's work has been exhibited and reviewed nationally, earning accolades such as Best in Show from Guggenheim Museum curator Nat Trotman. She has curated several shows in the New York area. Her pieces are held in the Newark Public Library collection and have been featured in Hyperallergic, The Star Ledger, and The Huffington Post. Recent exhibitions include the Brand Library & Art Center, Sarasota Art Center, and the New Orleans Photo Alliance. Hertog currently lives and works in the Nashville area.
