A graceful chronicler of the modern art world who translated the lives of artists and the energy of new movements into lucid, compelling prose for decades.
Calvin Tomkins joined The New Yorker in the early 1960s and spent over half a decade profiling artists with a novelist's eye for character and a reporter's commitment to clarity. Born in 1925, he demystified avant-garde movements without diminishing their power, writing about Marcel Duchamp, Robert Rauschenberg, and Damien Hirst. His profiles and essays placed the artist's life, studio, and ideas at their center, building a living history of modern creativity. Tomkins's writing never felt like dry criticism; it was storytelling that made the passions and processes of genius accessible to a wide audience. He became an essential narrator of cultural change through his long tenure at the magazine.
1901–1927
Grew up during the Depression, fought World War II, and built the postwar economic boom. Defined by shared sacrifice, institutional trust, and a belief that hard work and loyalty would be rewarded.
Calvin was born in 1925, placing them squarely in The Greatest Generation. The events that shaped this generation — world wars, depression, and rapid industrialization — shaped the world they entered and the choices available to them.
The biggest hits of 1925
#1 Movie
The Gold Rush
The world at every milestone
The Scopes Trial debates evolution in schools
Pluto discovered
Kristallnacht and the escalation toward WWII
Pearl Harbor attack brings the US into WWII
Allies invade Sicily; Battle of Stalingrad ends
United Nations holds its first General Assembly
Rosa Parks refuses to give up her bus seat
US sends combat troops to Vietnam
Fall of Saigon ends the Vietnam War
Live Aid concerts raise money for Ethiopian famine
Oklahoma City bombing; Windows 95 released
Hurricane Katrina devastates New Orleans; YouTube launches
He initially pursued a career as a novelist before turning to art writing.
He was married to art curator and writer Dodie Kazanjian.
His first piece for The New Yorker was a 'Talk of the Town' story about a fire at the Museum of Modern Art.
“The best art changes the way you see the world.”