Northeast
New York gun control regime handed defeat in court
Second Amendment activists scored another win against New York State’s expansive gun control regime on Thursday.
A federal judge said a newly enacted state law that bans licensed firearms owners from carrying concealed weapons on all private property, unless the owners permit weapons with a sign or by express consent, violates the constitutional right to keep and bear arms.
“At least as to private property open to the public (the subject of this motion), New York’s restriction is unconstitutional,” wrote U.S. District Court John Sinatra, Jr., a Trump appointee.
“Regulation in this area is permissible only if the government demonstrates that the new enactment is consistent with the Nation’s historical tradition of sufficiently analogous regulations,” the judge wrote, citing recent Supreme Court precedent. “New York fails that test here.”
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A man fires his pistol at an indoor shooting range during a qualification course to renew his Carry Concealed handgun permit at the Placer Sporting Club in Roseville, Calif. (AP)
The judge also denied a motion from New York for a two-week stay in the ruling while the state Attorney General’s office filed an appeal, reasoning that the state is unlikely to succeed on the merits.
Sinatra said that property owners have a right to exclude legal gun owners from carrying firearms on their property. “But the state may not unilaterally exercise that right and, thereby, interfere with the long-established Second Amendment rights of law-abiding citizens who seek to carry for self-defense on private property open to the public.”
The Concealed Carry Improvement Act, signed by Democratic Gov. Kathy Hochul in July 2022, was passed in response to a Supreme Court ruling that declared the state’s previous concealed carry permitting requirements unconstitutional. Last December, the U.S. Court of Appeals for the Second Circuit blocked several provisions of the law from taking effect, though it upheld a controversial requirement that concealed carry permit applicants demonstrate good moral character and disclose household and family members on a permit application.
The appellate court also let stand a ban on concealed carry in so-called “sensitive places,” including theaters, bars, public parks and other spaces.
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Hochul signed the Concealed Carry Improvement Act, which restricted where licensed firearms owners may carry concealed weapons. (Getty Images)
Gun rights activists praised Sinatra’s decision. “This is yet another important victory for Second Amendment rights and another major loss for New York, authoritarian governments, and radical anti-rights organizations like Everytown and Giffords,” said Brandon Combs, president of the Firearms Policy Coalition.
“We will continue to fight forward as we work to restore the full scope of the right to keep and bear arms throughout the United States. Hopefully Kathy Hochul is ready to write another check for legal fees,” he added.
The New York Attorney General’s office did not immediately respond to a request for comment.
Earlier this week, Hochul celebrated her administration’s gun control policies, announcing that gun violence in New York State has declined 47 percent since she took office in 2021.
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A federal judge ruled New York’s ban on licensed firearms owners carrying concealed weapons on all private property was unconstitutional. (spxChrome)
“And you all know what happened when the Supreme Court overturned the laws against concealed carry weapons, stripping away the power of the governor of this state to make her citizens safe. When the Supreme Court did that, we didn’t throw up our hands and surrender. We fought back,” Hochul said.
“We doubled down. We came up with legislation. And we have a prohibition on concealed carry weapons in sensitive places. I personally think every place is sensitive, don’t you? Alright, well, we drew the lines, okay? We decided what was sensitive, and so far we are good.”
However, gun rights groups argue that Sinatra’s decision shows Hochul is wrong.
“As we’ve said all along, the ‘sensitive place’ carry restrictions imposed by New York post-Bruen are unconstitutional. Hard stop,” said Bill Sack, director of Legal Operations for the Second Amendment Foundation. “We are thrilled that once again, the courts have agreed, and sent this amoral and unlawful ban packing.”
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“They were truly the unrelenting voices of their time, and made sure that this was something that happened because they knew it was important,” Jess Motyl-Szary, director of Rhode Island Pride, said in an interview on Thursday.
The 1976 pride march came after local Bicentennial Committee organizers “refused meeting space for the group of community members hosting the Congress of People with Gay Concerns,” according to research by Matthew Lawrence and published on the Providence Public Library’s website.
“Calling themselves Toward a Gayer Bicentennial Committee, the group sued the official Bicentennial Committee and won the right to assemble at the Old State House, where about 30 people met in June 1976 to discuss civil rights concerns,” according to Lawrence.
But the contingent also had to fight to join the Bicentennial Parade after they were initially denied the right to do so by officials who pointed to the state’s anti-sodomy law at the time, according to Motyl-Szary.
The 76ers “knew that being a part of an existing parade meant there was a little bit of safety there, because it was an existing infrastructure,” Motyl-Szary said.
“But it also meant that there was a much higher visibility for them to be able to be out there, be proud, and show other people who might not have been out that there is a safe space for them,” Motyl-Szary said.
With the assistance of the American Civil Liberties Union, they won the right to march, she said.
“It wasn’t safe to be out in the ’70s,” Motyl-Szary said. “Incredibly great people marched. Some had to march with paper bags on their heads because there were no legal protections to protect their jobs, their home, their families, but [it was] still incredibly brave to go out there, create visibility, and create this organization.
“Being here 50 years later, and being a part of their legacy has been so incredible,” she said.
A lot has changed for LGBTQIA+ Rhode Islanders in the decades since, Motyl-Szary said.
“But the closeness of it still feels relevant because we’re seeing these continued attacks in our community, and a very real resurgence of attacks on the LGBTQIA+ community, especially our trans brothers, sisters, and siblings,” Motyl-Szary said.
Since returning to office last year, the Trump Administration has taken aim at transgender rights across the country, especially after President Donald Trump signed an executive order recognizing two sexes, male and female. Among other actions, Trump has often sought to tie adherence to the order with federal funding requirements, and the administration has also attempted to gather private medical records from hospitals that provided gender-affirming care to transgender children and teens.
Reflecting on what pride means to her right now, Motyl-Szary said pride festivities are new to at least somebody every year.
“Someone is coming and getting to feel this embrace, this huge hug of their community for the first time every year,” she said. “And in a time like this, when our community is being told that we are hated by the rest of our community, by the rest of our country, when we are told we should hate ourselves, coming out and celebrating ourselves, loving ourselves, loving each other is so incredibly important. Our community creates the space that we need.”
Motyl-Szary said she also believes that “queer joy is resistance.”
“There is a real need for us to have a space and a celebration of who we are and to remind ourselves that we are worthy of love and that we are worthy of being a part of a community that gathers, celebrates, and fights for ourselves and our rights,” she said.
Rhode Island Pride kicks off on Friday night with the “Golden Anniversary Eve” party from 6 to 8 p.m. at the 195 District Park in Providence, Motyl-Szary said.
Festivities continue at the park on Saturday with yoga at 10 a.m. and PrideFest entertainment beginning at 11 a.m., alongside approximately 260 vendors, she said. A rally at 2 p.m. will focus on “what’s happening, get people motivated to be involved in [the] community to speak up and be an activist in whatever way is right for their path of activism,” Motyl-Szary said.
The Illuminated Night Parade steps off at 7:30 p.m. at Washington and Empire streets before moving through downtown Providence, according to organizers.
Christopher Gavin can be reached at christopher.gavin@globe.com.
SHELBURNE — Norman Rockwell lived for a time in suburban New York City and died and was buried in the Berkshires of Massachusetts. But for 14 years in between, the artist spent perhaps the most prolific period of his career in Vermont creating his best-known works.
That’s how Shelburne Museum curator Carolyn Bauer sees it — and how the museum’s latest exhibition treats the artist.
“Norman Rockwell: At Home in Vermont,” which opens June 20 and runs through Oct. 25, displays 40 of the 175 covers Rockwell famously created for The Saturday Evening Post magazine during his time in Vermont between 1939 and 1953.
Also on display are prints of “The Four Freedoms,” maybe his most famed works of all, which represent American ideals spelled out by President Franklin D. Roosevelt in 1941. Paintings in the exhibition include “The Young Lady with the Shiner” and “The Tattoo Artist,” both whimsical, recognizable pieces used as covers for The Saturday Evening Post.
“It’s very accessible work and approachable,” Bauer said.
The display features the three paintings that inspired the exhibition, given to the Shelburne Museum by Rock of Ages, the Barre granite quarry and monument maker. Those Rockwell paintings filled a significant gap in the museum’s art collection, which includes works by Claude Monet, Edgar Degas, Grandma Moses and Andrew Wyeth but, until recently, none by Rockwell, perhaps the best-known artist to have lived here.
“It feels like a homecoming in many regards,” Bauer said.
Moving to southern VT, finding ‘the every American’
The exhibition frames Rockwell’s time in Vermont around the tenor of the times in America. As the Great Depression was ending, World War II was looming and the nation was growing more urban and industrialized, much of the public was yearning for greater simplicity, Bauer said.
Rockwell was among them, leaving New Rochelle north of New York City for the quietude of Arlington in southern Vermont.
He was not alone. Contemporary artists including Mead Schaeffer, John Atherton and Gene Pelham would settle in Arlington too, creating what Bauer termed “the golden illustrator days” in Vermont.
Rockwell’s art, as the 152-page hardcover catalogue accompanying the exhibition notes, shows “how Vermont itself came to embody American ideals in the national imagination.”
Rockwell and his fellow Arlington artists used each other as models in their creations. “They really would work collaboratively,” Bauer said.
Pelham’s daughter, Melinda, is shown in the exhibition in two works: “The Babysitter,” a painting of a girl holding a crying baby that’s on loan from The Fleming Museum at the University of Vermont and an admission submission Rockwell sent to Kellogg’s of a girl clutching a cereal-laden spoon to her mouth.
Doctors, mail deliverers and shopkeepers from Arlington populated his work. Bauer said Rockwell usually gave models $5 and a can of Coca-Cola.
“He was recycling and using just about everybody in town,” Bauer said. That included himself: Rockwell added his own visage to the multiple faces in “The Gossip,” which shows him lashing out at a woman who’s started the rumor-mongering.
Bauer said Rockwell wanted to cultivate a sense of place by using Vermonters known for their austere self-reliance at the forefront of his work. He also found “the every American” ideal in town, Bauer said, though his art reflected a pronounced lack of diversity.
In later work, Rockwell would confront race and segregation as the Civil Rights Movement swept the U.S.
“He was progressive,” Bauer said.
Inspired by paintings donated by Rock of Ages
“Norman Rockwell: At Home in Vermont” was inspired by the 2025 museum acquisition of a trio of Rockwell works that once hung in the Barre offices of Rock of Ages. The granite company contacted the museum asking if it could donate the paintings, Bauer said, prompting staffers to wonder momentarily, “Is this real?”
Rockwell created advertisements for Rock of Ages and gave the paintings upon which the ads were based to the company. “Kneeling Girl” from 1955, making its debut at the Shelburne Museum, takes place in front of a gravestone engraved with the name Newton.
Rock of Ages donated two versions of 1963 work “The Craftsman,” a muted draft and a more luminous final version that were first displayed at the museum last year. They depict Rock of Ages stonecutter George Seivwright working in the shadow of a memorial bearing the name “Norwell,” a portmanteau of Rockwell’s first and last names.
Bauer called the paintings “incredible works of art that were circulated widely” in ads, brochures and pamphlets touting Rock of Ages and its world-famous Vermont granite. Though Rockwell had left Vermont for Massachusetts by the time he created those paintings, they do what Rockwell had done when he lived in Arlington — show the nation and the world what Vermont and Vermonters are capable of.
“We are just eager for our visitors to see these paintings,” Bauer said.
If you go
WHAT: “Norman Rockwell: At Home in Vermont”
WHEN: June 20 through Oct. 25
WHERE: Pizzagalli Center for Art and Education, Shelburne Museum
INFORMATION: $8-$25 museum admission; free under age 5 and for active military and Shelburne Museum members. shelburnemuseum.org
Contact Brent Hallenbeck at bhallenbeck@burlingtonfreepress.com.
“It’s been 53 years. I’ve been waiting that long.” “It’s been a very long time, a long time coming. And I’m so excited that my Knicks finally brought a championship home.” “Let’s go Knicks.” “I had to wake up at six o’clock.” “Knicks in five.” “Let’s go, Knicks.” “Let’s go, Knicks!” “We just moved to D.C. a few years ago, but we’re so happy to be back in New York, celebrating. Once we won we were like — we’re absolutely coming home. So, we had to bring Chester with us. I mean, he’s the biggest puppy Knicks fan there is. Chester, can you say Knicks in 5? Knicks in five.” “I got hurt a couple weeks ago, but this is the first time they’ve been to the finals since I was a year old. And so to be able to be here, this is a once-in-a-lifetime thing.” “My man’s out here with a boot and a Josh Hart jersey. My man’s got heart.” “It feels so overwhelming but overwhelming in a good way, where, like, I want to be — I want to, like, shoot some balls. I want to, like, just vibe with everyone because everyone’s here for one purpose, and that’s celebrating the Knicks.” “This has been like a uniting situation for New Yorkers, and I just can’t wait to feel the love from everybody.” “I think it’s a great equalizer, right? It brings everyone together. It doesn’t matter if you make $900,000 a year, if you make $50,000 a year. You’re united because of the Knicks.” “So often when this city comes together, it is because we are forced to by a moment of tragedy or adversity. What a gift it is to be brought together by pure, unfiltered joy.” “Most importantly, thank you to the fans. I’m not going to lie though, y’all all are some pretty hard critics, but we appreciate it. At least I do, appreciate it a lot.”
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