The lobby of the Preservation Resource Center of New Orleans’ headquarters, in the Leeds-Davis Building at 923 Tchoupitoulas St., is devoted to a museum-style exhibit explaining, according to the title wall, “the greatest architecture museum of all – the streets of New Orleans.”

From the colonial era to midcentury modern, creole cottages through shotguns to American townhouses and ranch houses, the lessons on how to “read” a New Orleans home explore the historic origins and organic utility of each design.

Actually, the lessons start in the precolonial era. Also on the exhibit’s title wall, the indigenous populations that predated the first colonists are credited with pioneering the concept of raised dwellings, a centuries-old practice still relevant this week.  

The exhibit’s detail beyond the major dwelling styles – down to window and door designs, roof shapes, cladding styles, and the fact that several “types” can be present in one building – makes for a great standing read.

The text for the exhibit was written by MaryNell Nolan-Wheatley and Michelle Shoriak; Susan Langenhennig Granger was project editor. The designers were David Jack Browning and Liz Jurey.

Here’s my walk-and-talk in the exhibit with Kristin Gisleson Palmer, the PRC’s executive director. 

More: themuseumgoer.com

This episode begins with a few words about my recent sponsored visit to the Hotel Pompadour in New Orleans,  a boutique hotel that is the vision of New Orleans artist James Michalopoulos, whose paintings fill the property with quavering, paint-heavy, color-rich, dreamy, dramatic images.

Then it's on to the interview.

The royal porcelain factory on the outskirts of Paris has been producing beautiful works of breakable art for nearly three centuries. Because a New Orleans collector took special interest in a specific period of the factory’s output, 75 pieces made for France’s doomed royal family between 1758 and 1766 are now on view in “Sèvres Magnifique: French Porcelain from the Collection of Thomas B. Lemann” at the New Orleans Museum of Art.

Here’s my visit to the exhibit with Mel Buchanan, NOMA’s RosaMary Curator of Decorative Arts & Design. We discuss the works on view, as well as Lemann’s remarkable gift to the museum. 

The exhibit is on view through January 3. 

More on both at themuseumgoer.com.

The exhibit “The First Piano Professors and Lost Music of Early New Orleans” is now on view at the New Orleans Jazz Museum. Co-curated by musician and archivist John Davis and the museum’s music curator David Kunian, the exhibit fills two big rooms with a story driven largely by sheet music. 

In the days before recorded sound, sheet music largely performed on home pianos was the distribution system for popular music. New Orleans, and Canal Street especially, was a vortex of music publishers in the 19th century. The classical music they distributed, composed and performed by a mix of émigrés from Europe and Louisiana-born Creoles, was mostly lost to time. Excavated from various archives over decades by Davis, the music is resurrected in the exhibit. 

The first room introduces the musicians and the venues where they performed. The second room features the sheet music itself, both in glass cases and projected onto the walls. The soundtrack is by Davis, performing the works seen on the walls. 

The exhibit is a fascinating trip to the New Orleans before the 20th-century breakthroughs of jazz and R&B. I visited with Kunian in the space pre-opening, and later via Zoom with Davis. 

More: themuseumgoer.com.

This new exhibit tracks the many ways the enslalved there navigated the perilous course toward survival. As the exhibit shows, it involved worship, maintaining blood or acquired kinship, education (especially literacy, the teaching of which to the enslaved was a crime in most Southern states), sharing folktales and foodways, even cultivating herbal remedies. 

In the case of Prince and Alex, two French-speaking 14-year-olds, it took the form of escape. We know because of a classified advertisement, placed in a New Orleans newspaper by plantation owner J.J. Haydel, offering a $50 reward for their capture. The ad is reproduced at the start of the exhibit, which continues on panel displays throughout the property.

I walked the grounds of the plantation with Mary Niall Mitchell, director of the Midlo Center for New Orleans Studies at the University of New Orleans and a UNO history professor. The project, which incorporates wonderful graphic illustrations by Langston Allston, is a collaboration between the Whitney and Midlo Center faculty, students, and graduate students. “Amongst Ourselves” also draws on “Freedom on the Move,” a digital database of fugitives from North American slavery maintained by Cornell University.

Later in our walk, I got to spend a few minutes with Ashley Rogers, the Whitney’s executive director.

The new changing exhibit “Holocaust Survivors in a New Land: The New Americans Social Club of New Orleans” is on view through the end of the year at the Museum of the Southern Jewish Experience. 

The exhibit tells the story of the social organization that formed to assist European Holocaust survivors who relocated to New Orleans. 

The exhibit tells their assimilation stories, their strides toward self-sufficiency, and the close social ties established within their “chosen family.” The exhibit is drawn from a trove of photos, documents and oral histories assembled by John Menszer, a local attorney who has been interviewing local Holocaust survivors since the 1990s. His mother, Elaine, had been doing so since the 1970s.

I recently visited the exhibit with Michael Jacobs, the museum’s collections and exhibits curator. 

More at themuseumgoer.com.

In this episode, we’ll step inside the new changing exhibit at the National WWII Museum, and chat with Cory Graff, Museum Curator and Restoration Manager. The exhibit, “Come Back Fighting: USS New Orleans at War” tells the story of a decorated heavy cruiser that served in almost every major Pacific theater battle of World War II. 

Christened at the Brooklyn Navy Yard in 1933 with water from the Mississippi River, the ship’s interwar duties took her to Europe, South America and the US territories of Alaska and Hawaii. Undergoing repairs at Pearl Harbor when the Japanese attacked on Dec. 7, 1941, it survived (while providing one of the war’s signature soundtrack songs) and went on to fight at the battles of the Coral Sea, Midway, and the Solomon Islands. Losing her bow and more than 180 of her crew in a battle off Guadalcanal, she limped toward repairs and then was returned to action. In 1946, a victory lap brought her to New Orleans for the first postwar Mardi Gras

Photo courtesy of the National WWII Museum.

Images accompanying the conversation are on the blog at themuseumgoer.com.

Also, new to the Historic Hotels portion of the site is a page devoted to the Rubenstein Hotel.

“American Revolution: The Augmented Exhibition” has opened at the Historic New Orleans Collection and will remain on view through January 17, 2027. From the French technology company Histovery, the exhibition uses hand-held tablet computers to open up 360-degree views of the sites, events and historical figures who fought for America’s independence 250 years ago. 

The HistoPads, as they’re called, are triggered at pedestals placed in front of several large-scale lightboxes that introduce each sequence, colonial Virginia to Boston to Philadelphia to Yorktown and so on.  

The exhibit will feel familiar to anyone who visited the Histovery exhibit “Notre-Dame de Paris” when it visited HNOC a couple of years ago. 

This is the exhibit’s US debut engagement, and it will tour for many years to many states. 

I recently visited the exhibit with Jason Wiese, HNOC’s chief curator, who discussed the overall show and went into some detail about HNOC’s contribution, a concluding sequence about Spanish Governor Bernardo de Gálvez and his multicultural militia of free men of color, Acadians, Indigenous volunteers, and Spanish regulars which won a series of victories against the British along the Gulf Coast. 

“American Revolution: The Augmented Exhibition” is free, but timed tickets are required.  Read more and view some photos that accompany the conversation on the blog at themuseumgoer.com.

Our guest is Stephen Kling, guest curator of “Gálvez and Louisiana in the American Revolution,” a new exhibit at the Cabildo that offers a heretofore largely obstructed Gulf Coast view of how bayou-based colonists prosecuted the quest for liberty.

Told through text, multimedia screens, re-created period garments, old and newly rendered artwork, and historical objects such as maps, documents and guns, the exhibit is intended to offer a comprehensive overview of our regional piece of the larger story.

And, if the exhibit somehow falls short of quenching anyone’s curiosity about its topic, there is a new 600-page book -- "An Underappreciated Victory: Bernardo Gálvez’s Mississippi River Campaign Against the British in 1779" -- for further study, cowritten by Kling. 

A few images accompanying the conversation are on the blog at themuseumgoer.com. Thumbnail image courtesy of the Louisiana State Museum.

“Gálvez and Louisiana in the American Revolution” is on view through May 15, 2027. Thanks to Stephen, and thanks to you for listening. 

Two new exhibits at the Ogden Museum of Southern Art spotlight the art-collecting interests – and generosity – of Stacey and Michael Burke. 

One is a collection of “self taught,” “outsider” or “vernacular” work by Southern artists. “Burke’s Delight: The Stacey and Michael Burke Collection” will remain on view through January 10, 2027. 

The other, “Herman Leonard: Images of Jazz,” features portraits  of jazz giants from a portfolio of prints donated to the museum by the Burkes, will be on view through July 12, 2026. 

For this episode, I spoke with Michael Burke, by trade a lighting technician for film and television, including many seasons of the Law & Order suite of shows. 

Then I spent a few great minutes with Bradley Sumrall, the Ogden’s curator of the collection, for a discussion of both exhibits. 

We start with a discussion with Michael about how to categorize this art and these artists, and his history of collecting. Bradley late expands on that conversation, while adding fascinating curatorial insight to the formation of both shows. 

Thanks to Michael and Bradley, and thanks to you for listening. 

Photos accompanying the conversation can be found on the blog at themuseumgoer.com.

There is subtle history to see in some of the ball photos on view in the new exhibit “Origins of New Orleans Black Carnival Society: The Story of the Illinois Clubs,” now on view at the Presbytere. Basketball court markings are visible in several of them because the clubs – the Original Illinois Club, born in 1895, and the Young Men Illinois Club, a 1926 offshoot – for most of their history had to hold their Carnival balls in gymnasiums. 

The Municipal Auditorium, longtime bastion of white Carnival society, wasn’t open to Black carnival organizations until 1966. The queen of the Young Men Illinois Club ball that year, Karen Becnel Moore, opens the conversation with her memories of the ball and its place in the city’s history. You’ll see a photo of her from that night when you visit the exhibit. 

Then we’re joined by Kelly Dorsey Parker, co-curator of the exhibit with Kim Vaz-Deville, to discuss the exhibit’s composition and a few marquee objects. “The Story of the Illinois Clubs” makes the Presbytere – with its permanent Mardi Gras exhibition and the temporary exhibit “Pioneers of Women’s Carnival” – at least a half-day destination for museumgoers interested in an immersion in local Carnival history. 

Thanks to Kelly and Dr. Moore, and thanks to you for listening.

Happy Mardi Gras, everybody.

Images, courtesy of the Louisiana State Museum and co-curator Parker, are on the blog at themuseumgoer.com.