Calvin Tomkins II, the esteemed American author and art critic whose insightful prose illuminated the avant-garde movements of the 20th and 21st centuries, passed away on March 20, 2026, at the remarkable age of 100. Known affectionately as "Tad" to his friends, Tomkins died from complications of a stroke at his home in Middletown, Rhode Island. His passing was confirmed by his wife, the writer and Vogue contributing editor Dodie Kazanjian. Following his death, major obituaries in The Washington Post, the Associated Press, and ArtReview highlighted his profound legacy of elevating avant-garde artists from obscure downtown galleries into mainstream American culture. A staff writer for The New Yorker for over six decades, Tomkins was celebrated for his meticulous profiles that brought the lives and works of groundbreaking creators to a wide audience.

Born in Orange, New Jersey, on December 17, 1925, Tomkins cultivated an early interest in writing that would define his century-long life. After serving in the United States Navy, he graduated from Princeton University in 1948 and initially pursued a path in creative writing. Before his legendary career in art journalism began, he published a fiction novel titled "Intermission" in 1951. His early professional years saw him working as a journalist for Radio Free Europe from 1953 to 1957, and later as a writer and editor for Newsweek from 1957 to 1961. These formative experiences honed his journalistic skills and laid the essential groundwork for his distinguished critical career.

Tomkins's enduring association with The New Yorker began in 1958 with a fictional contribution, and he officially joined the magazine as a staff writer in 1960. His pivot to art criticism began in earnest with his first nonfiction profile for the publication in 1962, a captivating piece on the kinetic artist Jean Tinguely. This marked the beginning of his deep dive into the burgeoning New York art scene, where he became a crucial chronicler of Pop Art, Minimalism, Earth Art, and other revolutionary movements. In a heartfelt tribute following his passing, The New Yorker editor David Remnick noted that Tomkins was just a few months younger than the magazine itself, underscoring his foundational role in shaping its cultural voice.

Throughout his prolific career, Tomkins authored more than a dozen books, many of which expanded upon his acclaimed magazine profiles. His 1965 work, "The Bride & the Bachelors: The Heretical Courtship in Modern Art," became a seminal text exploring the interconnected lives of figures like Marcel Duchamp, John Cage, and Robert Rauschenberg. He further cemented his literary reputation with the 1971 book "Living Well Is the Best Revenge," a celebrated account of American expatriates Gerald and Sara Murphy, and "Off the Wall," a definitive look at Rauschenberg's life and impact. Among his many notable biographies, "Duchamp: A Biography," published in 1996, stands out as a highly acclaimed and definitive account of the enigmatic artist. These works consistently demonstrated his profound ability to delve into the personal and intellectual worlds of his subjects.

From 1980 to 1986, Tomkins served as The New Yorker's official art critic, contributing weekly reviews that shaped public understanding and appreciation of contemporary art. He continued to write the magazine's "Art World" column until 1988, consistently offering insightful commentary on the evolving landscape of artistic expression. His contributions to art writing were recognized with numerous accolades, including the inaugural Clark Prize for distinguished writing on the arts in 2007. Recognizing his immense contribution to art history, his personal papers, interview transcripts, and correspondence were donated to the Museum of Modern Art in 2002. His collected profiles were later compiled into the six-volume anthology, "The Lives of Artists," published in 2019, offering a comprehensive overview of his extensive career.

Even in his later years, Tomkins remained an active and vibrant voice in the cultural conversation. On the eve of his 100th birthday in December 2025, he published a reflective diary entry in The New Yorker, showcasing his enduring wit and keen observational skills. Calvin Tomkins's legacy is that of a master bridge-builder, connecting the often-esoteric world of avant-garde art with a broader, curious readership. His elegant prose, rigorous research, and empathetic approach to his subjects ensured that his work will continue to be a vital resource for understanding the art and artists that defined an era.