[2] He studied lithography in Odessa and then traveled extensively in Germany, France, Italy and Switzerland visiting art schools and working as a lithographer.

[1][4][5] As a Russian speaker, Raskin became fluent in Yiddish after having come into contact with the literary community of the Lower East Side neighborhood of New York.

[7] In a cartoon from Der Groyser Kundes in 1909, Raskin employed a cantor, a person ethnomusicologist Mark Slobin, Professor of Music at Wesleyan University regards as serving as "representatives of the group's strivings" for American Jewish audiences in 20th-century America.

[8] He wrote articles for various New York based Yiddish language publications including Tsayt-gayst (The Spirit of the Times), the libertarian socialist[9] periodical Freie Arbeiter Stimme (The Free Voice of Labor), the monthly socialist journal Die Zukunft or Di Tsukunft (The Future) for which he wrote forty three articles[8] and Chaim Zhitlowsky's literary and philosophical Dos Naye Lebn (The New Life) published between 1908 and 1914.

[22][23][24] Raskin provided illustrations for a number of Hebrew texts such as Pirkei Avot: Sayings of the Fathers (1940), the Haggadah for Passover (1941), Tehilim.

Aron Hakodesh (The Holy Ark) illustrates the life of a boy named Moishele from his Bar Mitzvah to marriage, to teaching his own children and in his old age, his grandchildren reflecting the idea of passing down traditional Jewish wisdom.

[25] Hebrew Rhapsody contained sections on "Moses the prophet supreme", "Samson the tragic hero", "Job the good man", "the Golem", "a wedding in town", "the Hasidim who serve God with joy" together with a set of drawings on the Land of Israel to mark the tenth anniversary of the State of Israel with the final pages describing his experience as an artist.

Politically, Raskin described himself as initially an "International Marxist", then a "Social Revolutionist", later a "Bundist" and after World War I, a "Jewish Nationalist".

[27] Raskin's wife Rae also wrote for a number of publications such as the mass circulation Yiddish daily nationalist-Zionist newspaper Der tog (The Day) in the late 1910s and the nonpartisan Froyen zhurnal (The Jewish Women's Home Journal) in the early 1920s.

[28] In Der tog , her articles were intended to educate women in basic civics but she also addressed topics like home decoration and beauty.

[28] In Froyen zshurnal, she provided instructions in civics which she hoped would demonstrate how governing related "to the woman, her home economics, her and her family's health, raising her children, etc.".

[2] The Yeshiva University in New York maintain a collection of cards, newspaper clippings, correspondence, and publicity forms covering the period 1960 – 1966.