Over the course of two decades, Queens resident Joe Macken meticulously built an entire city from the ground up. In fact, he built New York City—the whole thing—one building, house, and bridge at a time. Now, his expansive scale construction is on view in He Built This City: Joe Macken’s Model at the Museum of the City of New York.

Macken began working on the 50-by-27-foot model in 2004, first in Middle Village, Queens, before moving to Clifton Park, New York. It comprises 340 individual sections, each built from everyday materials like cardboard and glue, with many of the buildings constructed of balsa wood and detailed with pencil and paint. He completed the structure in 2025, and it’s now on long-term view at the museum, where visitors can walk around it and are encouraged to use binoculars to find familiar buildings and neighborhoods.

You may also enjoy the “Panorama of the City of New York” at the Queens Museum, which was completed in 1964 and took a team of more than 100 people about three years to complete.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Joe Macken Spent 21 Years Hand-Assembling a Vast Model of New York City appeared first on Colossal.

One of the most common sights in cities is birds perched on power lines, although it rarely elicits a second look. Starlings chortle, pigeons coo, and the occasional hawk perches on a pole to scan the ground for its next meal. And yet, as normal as this seems, there’s nothing natural about it. Instead of trees, these feathered creatures rely on whatever infrastructure is around them, from wires and pylons to fences and rooftops.

For Ohio-based artist Rachel Mentzer, nature’s resilience is central to a practice focused on sustainability and environmental renewal. Her work “invites viewers to reflect on the interplay between human activity and the natural world, emphasizing the adaptability and fragility of nature,” says a statement.

Mentzer’s practice emphasizes collagraphy, an intaglio printmaking technique in which flattened materials—especially paper and card but also other items like leaves or acrylic surfaces—can be used to create a plate from which to make prints. She meticulously carves the delicate surfaces of found cartons with motifs of birds, trees, and energy infrastructure, then brushes them in polyurethane to preserve and prepare them for printing. Occasionally, she also employs chine collé, which uses delicate papers, to add colorful backgrounds.

The artist then coats the design with ink, wipes off the excess, and places the damp substrate into an etching press to transfer the image to a larger sheet of paper, producing the final piece. Thanks to the pressure of the transfer and the way the ink seeps into every handmade and incidental mark, the final print reveals a textural composition with crisp outlines. Birds and urban details alike are inextricable from the silhouette of a material that may have otherwise been destined for the landfill, summoning a constant reminder of the relationship between humans and nature.

Mentzer’s work was recently included in the Manhattan Graphics Center’s community print studio exhibition, and this summer, she’s looking forward to participating in the Suzanne Wilson Artist-in-Residence Program at Glen Arbor Arts Center in Michigan. See the artist’s process on her website, where you can also check if she will be at an art fair in your area throughout the spring and summer. See more on Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Rachel Mentzer Transforms Discarded Cartons into Dusky Collagraphs appeared first on Colossal.