translucent-header

Spending time with Sascha Crasnow's Art and Resistance class

After sitting in on one of Sascha Crasnow’s zoom lectures, it’s clear that her students are active and engaged with Art and Resistance: Global Responses to Oppression.

Spending time with Sascha Crasnow's Art and Resistance class

Written by Marlon Rajan

Art And Resistance: Global Responses To Oppression

Dave: It sounds like you’ve got lively people in your class.

Sascha: Definitely! I think the class is one that attracts people who are interested in having these kinds of conversations. What is art’s potential, and what is art’s responsibility and what is our responsibility for art, with art, to do with art, but there comes up as we go along kind of common through-lines both in terms of how artists are approaching these things, and then some of these big picture conversations about art’s role and whether art can be effective in this way are things that are just ongoing conversations that we end up having.  

After sitting in on one of Sascha Crasnow’s recorded zoom lectures, it’s clear that her students are active and engaged with Art and Resistance: Global Responses to Oppression. As Dave Choberka explains some of the works chosen for Curriculum/Collection, he pauses for students to ask questions. One student questions the ethics of museums holding art pieces, while another wonders how to properly credit art pieces where the artist is unknown. 

Why is an unknown German piece credited as having been created by ‘anonymous’, but an unknown piece in non-European, non-American collections is more likely to be attributed to an entire people? The class continues this way, as students connect the art pieces to their personal lives and future career goals. 

Another student says she’s interested in working for a museum in some form later in life. She asks, “what is your opinion on the idea of returning objects back to where they came from originally?” In a conversation with Sascha Crasnow, Dave Choberka comments on the engagement of her students: “It sounds like you’ve got lively people in your class. That’s great.”

Other Recent C/C Stories

One of the goals of Curriculum/Collection is to foster student engagement with UMMA’s collection and showcase the exciting work students produce in turn. Here, Mellisa Lee, who was a student in Art and Design 352: Florilegium, shares the art she created in Cathy Barry’s class and explains her process.


Learn about how the Curriculum/Collection exhibition for Social Work 560 with Professor Larry Gant was curated and the importance of community art!


Downtown Detroit, a 1947 painting by Carlos Lopez included in the works of art selected for Curriculum/Collection, depicts a Motor City skyline that doesn't quite exist. All the buildings are real, but Lopez made a composite of several different vantage points for his landscape. Click through an interactive version of Lopez's painting to zoom into the details and learn more about the history of the buildings and architecture represented here.