Maureen Mullarkey is a painter and a critic. A member of the International Association of Art Critics (AICA), she writes on art and its intersection with religious and politics. Her essays have appeared in various publications, including The Nation, The Hudson Review, Arts Magazine, Art & Antiques, and The American Arts Quarterly. She was a columnist for The New York Sun during its life as a print publication. Currently, she is a senior contributor to The Federalist, an irregular contributor to The Weekly Standard, and keeper of a weblog titled Studio Matters. She is represented by George Billis Gallery, NYC. Follow her on Twitter, @mmletters.
Identity-group ‘diversity’ is now ‘an explicit job qualification’ in scientific disciplines, altering the selection and training of future scientists.
In the judgment of both regimes, a substitute for the church, whether Orthodox or Roman Catholic, would gradually eliminate Christianity by attrition.
Far from making life easier for Chinese Catholics, accepting Communist control of their bishops disheartens and oppresses them further.
The once-eminent Jesuit university has approved a queer-only campus residence. Georgetown officials crow this ‘is in keeping with our Catholic and Jesuit values.’
The créche is an 800-year-old emblem of divinity ushered into time and history. It is a theological symbol, not a political one.
Sexual harassment digests a degenerate thug like Harvey Weinstein with a college student who makes an awkward pass or a well-intentioned boss who compliments a dress.
Despite pervasive emphasis on contextualizing, the responses gives no hint of substantial historical knowledge beyond the received tropes of popular culture and press.
Euthanasia is on the rise in Belgium, and around the world, prompting a Catholic charity to terminate the sufferer in order to eradicate suffering.
The personal tragedy of the Gard family and their dying baby elicited a spectacle of hypocrisy and grandstanding from Rome to DC.
His insight into Islam at a time England was preoccupied—with Hitler, communism abroad, and a fascist movement at home—was exceptional. And penetrating.
George Neumayr’s book, ‘The Political Pope,’ laments Francis’ embrace of liberalism and walks a fine line between just criticism and jeremiad.
This pope’s inclination to advance an ideological stance over rational judgment does not bode well for Catholicism or the future of the West. Willful blindness endangers both.
A culture war is not a street fight. Axing the endowments scores points but still leaves the arts captive to academia and its maze of orthodoxies.
Transgender status is a complex and odd bid for public attention, especially coming from children.
Papal connivance with the commutation of Oscar Lopez-Rivera’s sentence was not spontaneous. Francis’ mercy-mongering on his behalf lasted more than a year.
Christians are still in Christmastide; the Christmas story remains timely for a few more days. And to take the Incarnation seriously is to take history seriously.
Like Piglet noticing that his Very Small Heart could hold a large amount of Gratitude, residents are thankful for her Presence here among us.
Donald Trump’s victory has affected even the artists’ listserv I belong to. A December 3 broadcast touted an ‘action plan’ to stop Trump.
‘Jerusalem 1000 to 1400: Every People Under Heaven’ at the Metropolitan Museum of Art is a sophisticated exercise in historical revision and cultural proselytizing.
Our shepherds avert their eyes from the squalor of Hillary Clinton’s behavior in office and her policy proposals. Instead, they take aim at the thought crimes of her campaign team.
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