Robin Simpson is an art historian, educator, and curator. As a researcher they focus on Canadian, American, and South Asian contexts from the mid-twentieth century to present. They have investigated the intersections of clinical and critical discourse in early video art; the cultural, social and institutional effects of radical pedagogy; and the aesthetics and politics of tolerance. Their research, classroom teaching, and work as a gallery and museum educator is grounded in a sense of art as a force that shapes our environments and experiences and the ways the public tests curators’ and artists’ methodologies. Simpson holds a Ph.D. in Art History from the University of British Columbia.

They have worked at the Leonard & Bina Ellen Art Gallery (Montreal), the Morris and Helen Belkin Gallery (Vancouver), and the Aga Khan Museum (Toronto). Independent projects have been presented at VIVO Media Arts Centre (Vancouver), EFA Project Space (New York), the Banff Centre (Banff, Alberta), Le Printemps de Septembre (Toulouse), and Dare Dare (Montreal), in addition to many informal venues. Their critical writing has been published in a range of magazines and journals, including C Magazine, Capilano Review, Espace, Sarai Reader, Journal of Canadian Art History, and Amodern, and catalogues published by MIT Press, Presentation House Gallery, and Phi Foundation. In collaboration with the Williams family and musician and writer Alexander Moskos, they coordinate the preservation, research, and presentation of the life work of Trinidadian Canadian artist, poet, and musician Carlyle Williams. 

Franklin Evans creates paintings and immersive painting installations that operate as living studios (layered environments where images, histories, and fragments of past work accumulate, collide, and recombine). Born in 1967 in Reno, Nevada, he lives and works in New York.
 
Evans’ projects often examine the compression and circulation of time within painting, a theme explored in installations including timecompressionmachine (MoMA PS1, 2010), timepaths (Nevada Art Museum, 2013), XLtime (Abrons Art Center, 2017), and perpetualstudio (MAXXI Museum, Rome, 2022).
 
Since 2005 he has exhibited internationally at venues including The Drawing Center and El Museo del Barrio, New York; deCordova Sculpture Park and Museum, Lincoln, MA; DiverseWorks, Houston; and RISD Museum, Providence. He holds degrees from Stanford University (BA), University of Iowa (MA and MFA in Painting), and Columbia University (MBA).
 

Image credit: perpetualstudio, 2022, painting, collage, site-specific installation, commission by MAXXI - National Museum of 21st Century Arts, Rome

Mindy Lang A'82 has been affiliated with The Cooper Union for over twenty-five years, first as a student and later as a designer and educator. She was hired in 1982 as a teaching assistant in Graphic Design after completing her BFA in the School of Art. Currently an Assistant Professor, Lang teaches a Professional Practice class, in which Graphic Design students complete assignments for non-profit organizations for academic credit. "The day a living, breathing client is attached to a project, the design process changes for a student." Lang enjoys teaching the skills to negotiate that process, as well as conceptual and typographic development. Clients supported by recent student efforts via Lang's Professional Practice class have included: City Lore, Bellevue Hospital, The Center for Book Arts, Cancer Care, The Bronx Museum of Art, Urban Glass and The Waterford Institute.

Lang wears another hat at The Cooper Union, as Director of the Center for Design and Typography. Since 1992, Lang has overseen the design and production of the majority of the institution's publications and print materials, working collaboratively with faculty, administration and students. "Being and in-house designer for any institution or corporation involves a certain amount of repetition. I am fortunate that Cooper's ever-changing student population and programming always makes for challenging and fulfilling work."