Forecasters had been warning for days that dangerous Diablo winds were coming. Now, those conditions have produced a monster fire in Sonoma County.

The Kincade fire was burning out of control, consuming 10,000 acres in just a few hours.

What are the conditions firefighters are facing?

The area around the fire is seeing severe fire weather with sustained winds of roughly 50 mph and gusts as high as 76 mph, said National Weather Service meteorologist Matt Mehle. Temperatures around midnight were about 70 degrees, and humidity levels were about 10% to 15%.

Wind speeds in some of the valleys around the fire were lower, around 25 mph.

Mehle said that based on cameras and satellite data past midnight, he was continuing to see what firefighters call rapid rates of spread that can contribute to potentially extreme fire behavior. Based on his observations, the overall footprint of the fire was moving from the northeast to the southeast.

The Bay Area is in a classic Diablo wind situation, a common weather phenomenon for this time of year that sends extreme gusts from the northeast to the southwest. Such winds have had a long history in California of rapidly spreading fire.

The winds are expected to subside later Thursday, Mehle said. But humidity levels will continue to worsen, dropping into the single digits, and temperatures will rise to as high as 90 degrees in the fire area.

What is the larger picture in California?

Strong winds and extremely dry conditions will result in widespread critical fire weather conditions throughout California on Thursday, according to the National Weather Service. Strong surface high pressure in the Great Basin will promote strong northeasterly Santa Ana winds.

Southern California population centers listed at critical risk include Santa Ana, Anaheim, Riverside, San Bernardino and Oxnard. Population centers at extreme risk include Ontario, Fontana, Santa Clarita, Rancho Cucamonga and Pomona.

How about the weekend?

The National Weather Service in Sacramento is forecasting another wind event starting late Saturday that could be the strongest so far this fall.

“Downed trees, power outages & difficult driving conditions are possible,” the weather service said Wednesday in a tweet.

What about the power situation?

More than half a million utility customers could lose power this week in California.

Southern California Edison said more than 308,000 customers in seven counties — Ventura, Los Angeles, San Bernardino, Riverside, Orange, Kern and Santa Barbara — could face blackouts starting Wednesday night and rolling into midday Thursday.

Pacific Gas & Electric Co. on Wednesday shut off power to customers in the Sierra Nevada foothills about 2 p.m. An hour later, counties in the north San Francisco Bay Area began to lose service. By 1 a.m. Thursday, portions of San Mateo and Kern counties were also expected to be in the dark. In total, 179,000 customers are expected to have their power cut.

What are Diablo winds, and how are they different from the normal weather pattern for the Bay Area?

The normal weather pattern near the coast is for moist sea breezes to come off the Pacific Ocean and into the land. But in the fall, high pressure that builds into the Great Basin in Nevada and Utah causes wind to shift in the opposite direction, according to Jan Null, adjunct professor of meteorology at San Jose State University and former meteorologist with the National Weather Service.

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In the Bay Area, they’re called Diablo winds; in much of Southern California, they’re called Santa Ana winds. A similar wind that threatens Santa Barbara are called sundowner winds. In the Sacramento Valley area, Jarbo Gap winds are what locals call the gusts that howl through the Feather River Canyon as high-pressure air over Nevada and Utah seeks a path through the state’s mightiest mountain range, the Sierra Nevada, to fill the lower-pressure voids on the California coast.

In Northern California, the winds arrive when air coming down from Nevada and Utah, falling from an elevation of about 4,000 feet, gets pushed down to sea level. That air is compressed, and warm winds are created.

What are examples of how Diablo and Santa Ana winds have fueled fast-moving wildfires?

A classic example of a destructive fire fueled by Diablo winds is the October 1991 firestorm that struck the Oakland and Berkeley hills, killing 25 people and destroying about 2,900 structures. Until 2017, that fire was the most destructive in California history.

More fire coverage

Two more fires have been more destructive since then. The Tubbs fire of Sonoma and Napa counties in October 2017 roared 12 miles in four hours into Santa Rosa, killing 22 people and eventually destroying more than 5,000 structures.

The Camp fire of Butte County, which destroyed much of the town of Paradise and destroyed more than 18,000 structures last November, is now the state’s most destructive fire on record. A Los Angeles Times analysis published last year said the fire grew at a rapid clip — about 4,600 acres an hour — a rate that was matched by the Tubbs fire and other California fires. The Camp fire led to more than 80 deaths, the deadliest in California’s modern record.

California’s fourth most destructive fire, the Cedar fire of San Diego in 2003, grew even faster than the Camp fire. That fire had kindled for hours until a Santa Ana wind rolled in at midnight. By 3 a.m., the wind-driven fire had jumped a river and a reservoir and run nearly 17 miles. In the three-hour run, the fire spread an average of more than 19,600 acres an hour. Fifteen people were killed and more than 2,800 structures destroyed.

The same high-pressure, low-pressure gradient last year set up a Santa Ana wind event that pushed the Woolsey fire into Malibu. Its pace in the first three hours was 21,290 acres an hour. It destroyed more than 1,600 structures and caused three deaths.

Good morning, and welcome to the Essential California newsletter. It’s Thursday, Oct. 24, and I’m writing from Los Angeles.

It was an unseasonably warm afternoon in Los Angeles when news broke of the latest sentencing in the college admissions scandal.

One can only imagine that it would have been near impossible to navigate a very specific and moneyed subset of the city — to, say, run errands at the Brentwood Country Mart or retrieve one’s Tesla from the valet pickup line at CAA — without hearing snippets of speculation and schadenfreude.

Yes, like Felicity Huffman before her, Jane Buckingham would be going to prison. The Beverly Hills marketing maven — who sold her first trend research company to CAA while still in her 30s — had built a career first as an arbiter of all that was cool with the youth and, later, as a more all-purpose guru to the good life. This was a woman who had been called “the Martha Stewart of the younger generation” and written books called “The Modern Girls Guide to Life,” “The Modern Girls Guide to Motherhood” and, impossibly, “The Modern Girl’s Guide to Sticky Situations.”

Back in 2010, Huffman was among the well-heeled guests at the Soho House West Hollywood when the release of the latter book was fêted there. (What “felt like the entire population of Brentwood” was also in attendance that night, yanked east across the wilds of Doheny to dodge plates of custom Sprinkles mini-cupcakes amid a smattering of boldface names.)

On Wednesday, Buckingham became the 11th parent to be sentenced in conjunction with the college admissions scandal. She will serve three weeks in prison.

We are now a little more than seven months out from the initial “Operation Varsity Blues” explosion, when federal prosecutors blew the lid off an audacious college admissions fraud scheme aimed at getting the children of the rich and powerful into elite universities.

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[See our full college admissions scandal coverage in the Los Angeles Times]

The whole thing was, as Willa Paskin wrote at Slate, a large-scale grift that offered “a window into the ethical and moral rot of our supposedly meritocratic college-admissions system and a class-riven America where even extremely rich and privileged parents are in a panic for their children’s future.”

But, Paskin continued, “it is also, and I hope you will excuse me for saying, like, so much stupid fun.” The internet was collectively, insatiably riveted as the revelations rushed forth.

An entire Lifetime original movie has already been written, shot and released since the story broke in March, which is less time than it usually takes to thrice reschedule a Hollywood lunch. People delighted in the endless schadenfreude of it all (even if we felt a little icky about the kids whose names had been tarnished without their knowledge or consent).

The criminal sentencings have brought a fresh set of continuous headlines in recent months. Buckingham is among 19 parents who have pleaded guilty; 15 parents have contested the government’s case, and prosecutors are attempting to extradite a 35th parent from Spain.

But perhaps the most surprising thing has been the fact that so many parents have, so far, been sentenced to actual time. Sure, three weeks is not long in the scheme of things, or even in comparison to the time people from lesser means have too often served for far lesser crimes. But it’s not nothing.

“I know this is craziness, I know it is,” Buckingham allegedly said in a call to William “Rick” Singer, the scam’s mastermind. “And then I need you to get him into USC, and then I need you to cure cancer and [make peace] in the Middle East.” And why not?

The people on the other end of Singer’s calls were CEOs, movie stars and machers of the sort who have long bent the world to their will, and then some.

And in a time where the Teflon power elite seem to play by their own rules and the facade of a meritocracy is maybe the greatest grift of all, actual consequences remain shocking.

And now, here’s what’s happening across California:

TOP STORIES

A rapidly spreading wildfire driven by strong winds exploded in Sonoma County late Wednesday, prompting evacuation orders. The Kincade fire is an estimated 5,000 acres and has no containment, according to state and local officials. It is being driven by strong north winds and is moving south.

Large swaths of California will once again be without power amid heightened concerns that hot weather and strong winds could lead to wildfires. Southern California Edison said more than 308,000 customers in seven counties — Ventura, Los Angeles, San Bernardino, Riverside, Orange, Kern and Santa Barbara — could face blackouts. It is not clear when power to those areas might be shut off. PG&E began shutting off power to customers in Northern California on Wednesday afternoon. Those outages could affect about 179,000 customers. Los Angeles Times

• Map: Where PG&E has turned off power to customers
• Map: Where Southern California Edison may turn off power

A new report says that the 2018 Woolsey fire should serve as a warning: Emergency management officials were unprepared for massive evacuations before the most destructive fire in Los Angeles County history, causing chaos and calls for mutual aid that were not provided in the first critical hours of the Woolsey fire, according to a detailed accounting released Wednesday. Los Angeles Times

During testimony to the House Financial Services Committee committee, Facebook CEO Mark Zuckerberg struggled to convince Congress of the merits of the company’s plans for a cryptocurrency in light of all the other challenges the company has failed to solve. Committee Chairwoman Maxine Waters (D-Los Angeles) said Facebook should stop work on its cryptocurrency project until the company addresses a series of unrelated “deficiencies” in its social-media business. Los Angeles Times

L.A. STORIES

L.A. City Councilman John Lee called for a review of Aliso Canyon investigations. The natural gas facility’s 2015 blowout led to the largest-known human-caused release of methane in U.S. history. Los Angeles Daily News

Camille Kennedy of Pasadena will reign as the 102nd Rose Queen at the Rose Parade on New Year’s Day 2020. Pasadena Star-News

How to shop a Oaxacan market like a pro, featuring Bricia Lopez of the esteemed L.A. Oaxacan restaurant Guelaguetza. LAist

Actress Rose McGowan has filed a lawsuit against Harvey Weinstein and his team of high-powered lawyers and covert investigators, accusing them of carrying out a plot to discredit and silence her. Los Angeles Times

A retired Los Angeles County sheriff’s homicide detective recently rehired by Sheriff Alex Villanueva to investigate public corruption was temporarily banned from the jails last year after posing as a deputy and bringing contraband for an inmate, according to county records and interviews. Los Angeles Times

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POLITICS AND GOVERNMENT

The Trump administration has replaced the superintendent of Yosemite National Park amid a push to encourage more recreation and tourism in the park. Los Angeles Times

In less than two weeks, daylight saving time will once again come to an end. Hey wait, didn’t we overwhelmingly vote in favor of adopting permanent daylight saving time? Not exactly. Prop. 7, which passed in Nov. 2018, just opened the door to give the state Legislature the power to impose daylight saving time all year, which would need a supermajority vote in the Assembly and Senate. Even then, that would take effect only if federal officials allow states to do so. Here’s a look at where that state effort stands. Sacramento Bee

More Asian American and Pacific Islanders are voting in California — and they have the potential to influence the outcome of the state’s 2020 primary elections. Sacramento Bee

Silicon Valley ❤️‘s Mayor Pete: Elizabeth Warren and Joe Biden may be topping national polls, but the deep-pocketed donors of the valley have anointed the 37-year-old mayor of South Bend, Ind., with their almighty dollars. Buttigieg has out-raised Biden by a 5 to 1 margin among tech donors. Bloomberg

The state medical board has charged a San Diego doctor who doled out dozens of vaccine exemptions. She was charged with gross and repeated negligence, as well as failure to properly maintain records for writing the exemption, and could lose her medical license, be suspended or put on probation. Voice of San Diego

Rep. Katie Hill (D-Santa Clarita) is under investigation by the House Ethics Committee after allegations that she engaged in an affair with a congressional aide were made public last week. Los Angeles Times

CRIME AND COURTS

Fresno’s police chief and police union are standing by the police sergeant who fatally shot an unarmed 16-year-old boy, while community activists express outrage. Fresno Bee

An El Dorado County sheriff’s deputy was shot and killed early Wednesday morning while responding to a call in a rural community southeast of Placerville. Sacramento Bee

HEALTH AND THE ENVIRONMENT

The Trump administration is suing California over a cap-and-trade agreement with Canada. California’s cap-and-trade program requires companies to buy permits to release greenhouse gases into the atmosphere. Los Angeles Times

CALIFORNIA CULTURE

Costumes, taco carts and canapés? All par for the course when selling luxury homes in Silicon Valley. Social gatherings and free food have long been a staple marketing tool for agents. But in a competitive market for reaching high-end buyers, an extra buzz can make a difference. Mercury News

Merriam-Webster embraced the nonbinary “they.” What about Bay Area schools? San Francisco Chronicle

How a hand-painted food truck is bringing Mexican traditions to San Joaquin Valley streets. “They have something similar in Texas, Puebla and in Los Angeles … We thought it would be a good idea to bring it to the Valley.” Visalia Times-Delta

From the Dept. of Late-Capitalist Dystopia: Google employees are accusing the company’s leadership of developing an internal surveillance tool that they believe will be used to monitor workers’ attempts to organize protests and discuss labor rights. Bloomberg

Tech dystopia, con’t: Hundreds of pages of documents obtained by Motherboard show how Facebook is using the Menlo Park Police Department to reshape the city. Vice

CALIFORNIA ALMANAC

Los Angeles: sunny, 93. San Diego: sunny, 90. San Francisco: sunny, 85. San Jose: sunny, 90. Sacramento: sunny, 89. More weather is here.

AND FINALLY

Today’s California memory comes from Jacquelyn Jobe:

“Moved to San Francisco in October 1973 when I was 20. Found an office job and a studio apartment for $75 a month right away. I fell in love with this city. The following year I experienced my first summer [there]. Mark Twain was right, ‘The coldest winter I ever saw was the summer I spent in San Francisco.’ Yet I stayed for seven years.”

If you have a memory or story about the Golden State, share it with us. (Please keep your story to 100 words.)

Please let us know what we can do to make this newsletter more useful to you. Send comments, complaints, ideas and unrelated book recommendations to Julia Wick. Follow her on Twitter @Sherlyholmes.

Orange County firefighters were battling a brush fire in Santiago Canyon set off by a burning car early Thursday.

The Orange County Fire Authority used air drops and hand crews to battle the blaze that broke out near Santiago Canyon Road and Highway 241 east of the city of Orange around 3:30 a.m.

As of 6 a.m., officials said they had stopped forward motion of the fire.

No buildings were damaged.

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Paintings that draw from the feminine and the domestic, a Day of the Dead celebration in three languages and an artist-made carousel in Venice. Here are a dozen exhibitions and events to check out in the coming week:

“With Pleasure: Pattern and Decoration in American Art 1972-1985,” at the Museum of Contemporary Art Los Angeles. In the 1970s, artists across the United States began to embrace forms of artistic production frequently described as feminine or domestic, traditions such as quilting, embroidery, weaving and interior design (such as wallpaper patterns). Artists took those ideas and media and pumped up the volume. This show, the first comprehensive, scholarly survey of this American art movement, will feature works by figures such as Merion Estes, Kendall Shaw and Takako Yamaguchi, as well as artists who aren’t directly associated with Pattern and Decoration but whose work bears tangential or indirect links. Opens Sunday and runs through May 11. MOCA Grand Ave., 250 S. Grand Ave., downtown Los Angeles, moca.org.

Edward and Nancy Kienholz, “The Merry-Go-World or Begat by Chance and the Wonder Horse Trigger,” at L.A. Louver. In the 1990s, the artist pair, known for their assemblages and narrative tableaux, created a large-scale merry-go-round installation inspired by accidents of birth. Using old bits of furniture, toys and taxidermied animals, they created individual mounts inspired by people in different places and different stations: a chairmaker in Egypt, a street barber in Bombay, a girl in a Rio favela, a wealthy woman in Paris — all demonstrating that the life we are born to is pure chance. It is the first time the work will be seen in L.A. since it debuted in 1992. Through Jan. 18. 45 N. Venice Blvd., Venice, lalouver.com.

Joe Rudko, “Tiny Mirrors,” at Von Lintel Gallery. From a distance, they appear to be pixelated images; get up close and you’ll see parts of vintage photographs all spliced together to create fragmented realities. This is the first exhibition at the gallery for the Seattle-based artist. Opens Saturday at 5 p.m. and runs through Dec. 21. Bendix Building, 1206 Maple Ave., #212, downtown Los Angeles, vonlintel.com.

Laura Owens, “Books and Tables,” at Matthew Marks Gallery. The Los Angeles painter is displaying a series of brand-new works, including handmade artist books, some of which have been a decade in the making. Opens Saturday at 5 p.m. and runs through Jan. 25. 1062 N. Orange Grove, West Hollywood, matthewmarks.com.

Laura Karetzky, “Ratio: Poems,” at Lora Schlesinger Gallery. Karetzky takes an old form (painting) and uses it to explore a new medium (digital life). The current works, are part of a series titled “embedded” that explore the ways in which people communicate across digital channels, especially over platforms such as FaceTime, in which one window might be embedded in another. Opens Saturday at 4 p.m. and runs through Dec. 7. Bergamot Station, 2525 Michigan Ave., #B5b, Santa Monica, loraschlesinger.com.

Breyer P-Orridge, “Pandrogeny 1 & II,” at the Tom of Finland Foundation and Lethal Amounts. A two-part exhibition features paintings, photos, sculptures and installations by the gender-bending artist and pioneering musician (they were once part of the British industrial band Throbbing Gristle). P-Orridge has long explored issues of gender, the body and body modification, including a long-running effort to surgically transform themselves into their late romantic partner, Jacqueline “Lady Jaye” Breyer. Opens Friday and runs through Nov. 24 at both locations. An artist’s reception (including a special performance by Christeene) will take place at Lethal Amounts (1226 W. 7th St., Westlake, Los Angeles) this evening at 6 p.m.; advance tickets required for the opening. Tom of Finland Foundation, 1421 Laveta Terrace, Echo Park, Los Angeles and Lethal Amounts, 1226 W. 7th St., Westlake, Los Angeles, tomoffinlandfoundation.org and lethalamounts.com.

Tadashi Moriyama and Rachael Pease, “Frontiers,” at Jason Vass. Moriyama and Pease are two artists with overlapping interests: both students from the University of Pennsylvania who create intricate, meditative works in ink, two artists who also happen to be married and have children. New works by the pair explore notions of boundaries, both internal and external. Opens Saturday at 5 p.m. and runs through Dec. 7. 1452 E. 6th St., downtown Los Angeles, jasonvass.com.

“Some Among Others: Mexican Sound & Video Art,” at Now Instant. Artist and writer Nick Herman is presenting a screening of historic and contemporary sound works in Mexican art. Today at 8 p.m. 5319 York Blvd., Highland Park, Los Angeles, now-instant.la and x-traonline.org.

“Loitering is delightful,” at Los Angeles Municipal Art Gallery. In his essay “Loitering is Delightful,” writer Ross Gay explores the meaning of the word and the ways it is employed as a tag of criminality when used to describe people of color. This group show, featuring work by artists such as Cauleen Smith, Milano Chow, Lauren Davis Fisher and many others, invites dawdling and other forms of “non-productive” activity. Opens Sunday at 2 p.m. and runs through Jan. 12. 4800 Hollywood Blvd., East Hollywood, lamag.org.

Día de los Muertos, at SPARC. The art center is hosting its 17th annual Day of the Dead celebration in collaboration with Martha Ramirez-Oropeza, a professor at UCLA. She and more than 100 students have built intricate altars in honor of the dead. Ramirez-Oropeza will lead invocations in Nahuatl, English and Spanish. Visitors are invited to bring a photograph of a loved one for the community altar. Sunday at 5:30 p.m.; doors open at 4:30 p.m. 785 Venice Blvd., Venice, sparcinla.org.

Jonathan Harkham, “City of Mysteries,” at Werkärtz. The Australia-born artist is showing a selection of recent paintings made in his downtown Los Angeles studio, works that serve as an informal record of the city and its inhabitants. Opens Saturday and runs through Dec. 7. 1013 S. Los Angeles St., downtown Los Angeles, werkartz.com.

Foodscapes Festival, at Reseda Recreation Center. Part of the citywide “Current:LA Food” triennial, this afternoon-long event organized by Big City Forum and Across Our Kitchen Tables features a pop-up mercado, as well as cooking demonstrations, art workshops and dance. Saturday 12 p.m. to 4:30 p.m. 1841 Victory Blvd., Reseda, facebook.com/big-city-forum-95125138032.

Last Chance

Robin F. Williams, “With Pleasure,” at Various Small Fires. The New York artist takes tropes of femininity and picks them apart on canvas, reimagining the sensual poses of advertising and imagining the physical embodiments of virtual assistants such as Siri and Alexa. Through Saturday. 812 N. Highland Ave., Hollywood, vsf.la.

Laura Krifka, “The Game of Patience,” at Luis De Jesus Los Angeles. Situations that are kind of weird (a nude couple sucking on lemons) and backdrops that are slightly oversaturated (patterned wallpaper straight out of the ’70s) — those are some of the settings for Krifka’s stylized figures. Through Saturday. 2685 S. La Cienega Blvd., Culver City, luisdejesus.com.

“Worlds of Homelessness,” in locations around Los Angeles. It is estimated that 60,000 people experience homelessness in L.A. on any given night. This project, organized by the Goethe-Institut, looks at the issue of homelessness from an interdisciplinary perspective, through presentations by artists, architects and urbanism experts — as well as respected organizations such as the Los Angeles Poverty Department, a skid row art and performance group. Concludes Saturday and Sunday with the 10th Festival for All Skid Row Artists (Gladys Park, 808 E. 6th St., downtown Los Angeles), goethe.de.

“Buried by Vesuvius: Treasures From the Villa dei Papiri,” at the Getty Villa. When J. Paul Getty built a museum on his Malibu property in the late 1960s, he chose to model it after the Villa dei Papiri in southern Italy, the luxurious Roman estate from AD 79 uncovered in 1750. This exhibition presents some of the most spectacular archeological finds from the site — including bronzes, marble statuary and objects from the library of papyrus scrolls that give the villa its name. Through Sunday. 17985 Pacific Coast Highway, Pacific Palisades, getty.edu.

Dan Barry, “The flowers must all fade fruits must decay,” at Luz de Jesus Gallery. Collages with a retro feel incorporate bits of found imagery, drawing, needlepoint and drawing. Through Sunday. 4633 Hollywood Blvd., Los Feliz, laluzdejesus.com.

Ongoing

Elyse Pignolet, “You Should Calm Down,” at Track 16 Gallery. Pignolet takes quotidian aspects of women’s lives — cosmetics, tampons, the crude catcalls that men toss at women on the street — and renders them in Mediterranean-style ceramics, including tiles and vases. This new series takes misogynist expression and renders it in wry, decorative ways. Through Nov. 2. Bendix Building, 1206 Maple Ave., #1005, downtown Los Angeles, track16.com.

Judy Chicago, “Los Angeles,” at Jeffrey Deitch. In the 1960s, before she was known as the artist of high-profile feminist works such as “The Dinner Party,” Chicago was producing painting and sculpture in a much more minimal vein. This show at Deitch explores her early years in Los Angeles and Fresno, when Chicago was mastering the art of color and form. Through Nov. 2. 925 N. Orange Ave., Hollywood, deitch.com.

Theaster Gates, “Line Drawing for Shirt and Cloak,” at Regen Projects. In his second solo exhibition at Regen, Gates is taking his own wardrobe as a point of inspiration for a series of works that will come together to form a large-scale sculpture. The installation, which will feature a new vocal work by the artist, will also employ the storefront areas in ways that comment on questions of consumption and desire. Through Nov. 2. 6750 Santa Monica Blvd., Hollywood, regenprojects.com.

Shana Lutker, “An Analphabet,” at Vielmetter Los Angeles. The title of the exhibition refers to, among other things, the title of a 1947 book of drawings by Man Ray, a book that explored the nature of symbols and letters. This premise serves as the basis of Lutker’s show, which presents a series of sculptures in reflective cut steel inspired by shapes from the artist’s archive of surrealist ephemera. Through Nov. 2. 1700 S. Santa Fe Ave., downtown Los Angeles, vielmetter.com.

Ernesto Neto, “Children of the Earth,” at Tanya Bonakdar Gallery. The Brazilian artist is known for creating immersive environments from hand-dyed fabrics, spices and shells. These interactive spaces — which participants can often fully inhabit — are inspired by craft and the natural world. Through Nov. 2. 1010 N. Highland Ave., Hollywood, tanyabonakdargallery.com.

Zak Ové, “The Invisible Man and the Masque of Blackness,” at the Los Angeles County Museum of Art. The museum’s Cantor Sculpture Garden will be more than just Rodin works this summer as it becomes the installation site for the Trinidadian artist’s platoon of graphite figures evoking traditional African sculpture. The piece nods to histories of racial objectification and key works related to those issues — including Ben Jonson’s 1605 play, “The Masque of Blaqueness,” and Ralph Ellison’s 1952 novel, “Invisible Man.” Through Nov. 3. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.

“Current:LA Food,” in locations around Los Angeles. Food is the sort of topic that can be linked to bounty, to desire and to literal hunger. It is the mannerist object on Instagram. It is the grain that shrivels in a year of drought. And it is the subject of this year’s public art triennial, organized by the City of L.A.’s Department of Cultural Affairs in collaboration with the Institute of Contemporary Art, Los Angeles. This includes major public art commissions in neighborhoods around the city, including sites such as Pan Pacific Park, Leimert Plaza Park, the Venice Beach Recreation Center and Barnsdall Park, among many others, featuring works by artists such as Nari Ward, Jazmin Urrea, Michael Rakowitz, Julio César Morales and Max La Rivière-Hedrick. Check the website for locations and for the many related events and programming. Through Nov. 3. In locations around Los Angeles, currentla.org.

Ari Benjamin Meyers, “Kunsthalle for Music,” at the Museum of Contemporary Art Santa Barbara. Meyers, who is based in Berlin, is turning the museum into a stage in which an ensemble performs a repertoire of musical works composed by the artist and others. Through Nov. 3. 653 Paseo Nuevo, Santa Barbara, mcasantabara.org.

“Paroxysm of Sublime,” at Los Angeles Contemporary Exhibitions. A group show explores the notion of “solastalgia” (a blend of the words “solace” and “nostalgia”), the feelings of distress that occur with changes in a person’s natural environment. The show, organized in collaboration with France Los Angeles Exchange, includes works by Carmen Argote, Beatriz Cortez, Candice Lin, Eddie Aparicio and many others. Through Nov. 3. 6522 Hollywood Blvd., Hollywood, welcometolace.org.

Sayre Gomez, “X-Scapes,” at François Ghebaly. Inspired by trompe l’oeil and filmic set painting, Gomez uses a multitude of techniques to stitch together disparate aspects of the Los Angeles landscape in ways that channel the hyperreal. Themes include the more quotidian aspects of the landscape: strip mall signage and cell towers. Also on view will be sculptures that evoke elements of the urban environment. Through Nov. 3. 2245 E. Washington Blvd., downtown Los Angeles, ghebaly.com.

“Air Land Sea: A Lithographic Suite by William Crutchfield,” at the Norton Simon Museum. The late artist was born in Indianapolis but settled in Los Angeles in the ‘60s, near the port of San Pedro. This provided plenty of inspiration for drawings and prints that dwell on the architectural and the industrial, images of trains, planes and buildings that were all reimagined as hybrids of each other. This show consists of a suite of 13 lithographs printed at the Tamarind Lithography Workshop in 1970. Through Nov. 4. 411 W. Colorado Blvd., Pasadena, nortonsimon.org.

Chris Hood, “Para,” at Praz Delavallade. Hood, an L.A. painter, is making his gallery debut with a series of canvases that layer landscapes, objects and figures — images that the artist harvests from his collection of personal photographs. Through Nov. 9. 6150 Wilshire Blvd., Mid-Wilshire, Los Angeles, praz-delavallade.com.

Analia Saban, “Dry Clean Only,” at Mixografia. The artist is releasing a suite of eight prints inspired by garment labels with the L.A. print-making studio known for producing highly textured, practically three-dimensional works on paper. Their large scale highlights the labels’ aesthetic and utilitarian elements — from font design to the hurried nature in which they are produced. Through Nov. 9. 1419 E. Adams Blvd, Central-Alameda, Los Angeles, mixografia.com.

Hugh Holland, “Silver. Skate. Seventies.” at M+B. Since the 1970s, the photographer has captured the culture of skateboarding in drainage ditches, empty pools and asphalt streets. This exhibition of black and white images accompanies the release of the artist’s latest monograph, published by Chronicle Chroma Books. Through Nov. 9. 612 N. Almont St., West Hollywood, mbart.com.

Tanya Brodsky, “Tongue Tied,” at Ochi Projects. Brodsky is known for creating installations that take the objects of the everyday (say, handrails) and deploying them in absurdist ways (placing that handrail in a corner to nowhere). For this installation she looks at the ways in which words and images are used to convey meaning — imagine the missives of stock images and upbeat wellness texts distributed by her health insurance company — and how meaning often has a way of slipping between the cracks. Through Nov. 9. 3301 W. Washington Blvd., Arlington Heights, Los Angeles, ochiprojects.com.

Gordon Parks, “The Flávio Story,” at the Getty Center. In the early 1960s, photographer Gordon Parks traveled to Brazil and photographed a poignant story about a young favela dweller named Flávio da Silva that highlighted issues of poverty and inequity in that country. But the pictures generated controversy there, where Parks was criticized for creating poverty porn. This led various Brazilian photographers to travel to the U.S. to photograph poverty here. The Getty Museum is showing Parks’ images, along with images by the Brazilian photographers who responded to Parks’ work. Through Nov. 10. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.

Mary Corse, “A Survey in Light,” at the Los Angeles County Museum of Art. This is an overdue survey of one of the few women associated with SoCal’s Light and Space movement, an artist who has long toyed with light and the emotional states it can induce. The show highlights critical moments in Corse’s career: her experiments with shaped canvases, light boxes powered by Tesla coils (that she builds herself) and glass microbeads that make her work shimmer in hallucinatory ways. Through Nov. 11. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.

“B.A.T. State III: Women Artists in Conversation With El Nopal Press,” at the Kleefeld Contemporary Art Museum. A group exhibition gathers works by 37 women artists who, over a span of 30 years, made prints at Francisco X. Siqueiros’ print-making studio, El Nopal Press in downtown Los Angeles. This includes lithographs, relief prints, monoprints and other works produced by artists such as Judith F. Baca, Lisa Adams, Carolyn Castaño, Diane Gamboa, Emily Cheng, Anita Bunn and many others. Through Nov. 14. Cal State Long Beach, 1250 Bellflower Blvd., Long Beach, csulb.edu.

“On the Surface: Wallpaper From 1797 to the Present,” at Palos Verdes Art Center. This broad survey brings together a wide sample of European, English and American wallpapers dating back to the late 18th century — including loaned samples from Zuber & Cie in France, the oldest extant manufacturer of wallpaper in the world. Through Nov. 16. 5504 Crestridge Road, Rancho Palos Verdes, pvartcenter.org or onthesurface.design.

“Night in the City: L.A. After Dark,” at the Natural History Museum. A series of public programs devised by the museum, in collaboration with the Huntington-USC Institute on California and the West, as well as KCET and Artifact Nonfiction, consider the city at night. The series kicked off with a film and discussion about working the night shift. Upcoming events include conversations about the history of electricity in L.A. (on Oct. 29) and a full-day symposium that will touch on everything from noir novels to the science of evening skies (Nov. 16). 900 Exposition Blvd., Exposition Park, Los Angeles, nhm.org.

Ardeshir Tabrizi, “Masjid,” at Roberts Projects. Tabrizi creates large-scale, hand embroidered paintings that blend historic Iranian symbols and imagery with more contemporary events. The exhibition also features a series of works on paper that employ pages from the Quran and are woven together with thread and graphite images. Through Nov. 16. 5801 Washington Blvd., Culver City, robertsprojectsla.com.

Mark Cottle, “The Cost of Money,” at Neutra VDL. Cottle has created a series of architectonic interventions that will inhabit the 1930s-designed home by architect Richard Neutra in Silver Lake. These are made from recycled shopping bags that he assembles into large geometric works that also serve as charts of exchanges, transactions and goods consumed. Through Nov. 23. 2300 Silver Lake Blvd., Silver Lake, Los Angeles, neutra-vdl.org.

“Visualizing the People’s History: Richard Cross’s Images of the Central American Liberation Wars,” at the Museum of Social Justice. Photojournalist Richard Cross was only 33 years old when his car struck a landmine in Honduras and both he and a fellow journalist — Dial Torgerson, then Mexico bureau chief of the Los Angeles Times — were instantly killed. This exhibition gathers work from 1979 until his death in 1983, during which time Cross covered a range of liberation conflicts in Central America. The show is part of an ongoing effort at the Tom & Ethel Bradley Center at Cal State Northridge to digitize their photographic collection, which places an emphasis on underrepresented communities. Through Nov. 24. 115 Paseo de la Plaza, basement of the La Plaza Methodist Church, downtown Los Angeles, museumofsocialjustice.org.

Matías Duville, “desert means ocean,” at the Museum of Latin American Art. The Argentine artist has spent two months in residency at the museum working on a suite of drawings that parallel the brutal similarities between desert and ocean. Through Dec. 1. 628 Alamitos Ave., Long Beach, molaa.org.

Amir Zaki, “Empty Vessel,” at the Frank M. Doyle Arts Pavilion. This exhibition creates pairings of two types of vessels: broken ceramic containers and the undulating concrete skateparks that dot the California landscape. But rather than present these as objects of utility, Zaki is interested, primarily, in their sculptural qualities. Through Dec. 5. Orange Coast College, 2701 Fairview Rd. Costa Mesa, orangecoastcollege.edu.

“Salt & Silver: Early Photography, 1840-1860,” at the Santa Barbara Museum of Art. Drawn from the archives of the Wilson Centre for Photography in London, this exhibition features more than 100 seldom-displayed salt prints that hark back to the earliest days of photography. Through Dec. 8. 1130 State St., Santa Barbara, sbma.net.

“Every Living Thing: Animals in Japanese Art,” at the Los Angeles County Museum of Art. Lions, dogs, horses, fish and more — this survey looks at the broad representation of animals in Japanese art from the 5th century to the present. The show, which features more than 200 objects, many drawn from LACMA’s collection, examines the use of animals as zodiac symbols, in folklore and the natural world. Through Dec. 8. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.

Brooks + Scarpa, “Dense-city: Housing for Quality of Life,” at the 18th Street Art Center’s Airport Gallery. This exhibition brings together projects by the L.A. architecture studio whose designs have regularly touched on the burning issues in design today: equity, public space, housing. (They recently released a toolkit of design pieces that can be adapted to a variety of urban lots, allowing cities to speed up construction for the homeless.) This exhibition features two decades of projects intended to address sustainable housing and communities. Through Dec. 14. Airport Campus, 3026 Airport Ave., Santa Monica, 18thstreet.org.

Russell Crotty, “Paintings Distant and Perilous,” at Shoshana Wayne. In his fifth solo show at the gallery, the artist, who has long had a fascination with space, is presenting about two dozen new paintings influenced by astronomy and lunar exploration — inspired, in part, by a 2015-16 residency at the Lick Observatory, part of the Institute of Arts & Sciences at UC Santa Cruz. The series fuses an array of celestial phenomena with more earthly landscapes, among other imagery. Through Dec. 21. 4835 W. Jefferson Blvd., West Adams, Los Angeles, shoshanawayne.com.

Umar Rashid (Frohawk Two Feathers), “The World You Know is a Fiction…” at the Vincent Price Art Museum. Rashid takes American historical narratives, scrambles them, then reimagines them in paintings that take on issues such as colonization, war and the building of empires. Produced over several years, the work on view at the museum explores the vicissitudes of power and centers on figures that occupy his so-called “Frenglish Empire,” a fusion of the French and British colonial enterprises. Expect to see battalions of militiamen, freed slaves, indigenous nobility, all drawing on the visual and material traditions of colonial art. Through Dec. 21. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.

Carolina Caycedo, “Apariciones / Apparitions,” at the Vincent Price Art Museum. As part of a project that was jointly curated by VPAM and the Huntington Library, Art Collections and Botanical Gardens, Caycedo spent time at the Huntington making a work that responded to the museum collection: a collaborative dance piece with choreographer Marina Magalhães that was inspired by indigenous and African dance practices and which, in many ways, responds to the issues of colonization raised by the entire Huntington enterprise. VPAM is now showing the video from that work, which it has acquired as part of its permanent collection. Through Dec. 21. 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.

“W|alls: Defend, Divide and the Divine” at the Annenberg Space for Photography. An exhibition takes a broad look at the ways in which humans have constructed barriers and the myriad purposes they have served — and continue to serve — be they political, spiritual or aesthetic. Through Dec. 29. 2000 Avenue of the Stars, Century City, Los Angeles, annenbergphotospace.org.

“The Archival Impulse: 40 Years at LACE,” at Los Angeles Contemporary Exhibitions. LACE, the historic Los Angeles art spot that gave key shows to Mike Kelley and groups such as Survival Research Laboratories in the ’80s, is turning 40 — and to mark the occasion, the organization has been poking around its metaphorical attic (aka its archive) to see what it might turn up. This show gathers elements from that archive as well as video works by a range of Los Angeles artists, including Jim Shaw, Susan Mogul and Reza Abdoh. Through Dec. 31. 6522 Hollywood Blvd., Hollywood, welcometolace.org.

Oscar Castillo, “L@s Tarahumaras: Life, Culture and Challenges,” at Jean Deleage Gallery. In 1972, the photographer reported a story about the Tarahumara runners of the High Sierras of Chihuahua. This exhibition showcases some of that work. Through December. Casa 0101 Theater, 2102 1st Street, Boyle Heights, Los Angeles, casa0101.org.

Harry Fonseca, “Coyote Leaves the Res,” at the Autry Museum. The museum acquired the estate of the Sacramento-born painter and is now presenting works from his archive. Fonseca was known for his depictions of Coyote, a canine trickster who materializes in all manner of very human settings. It’s work that nods at the artist’s indigenous heritage without ever getting caught up in cliches. Through Jan. 5. 4700 Western Heritage Way, Griffith Park, Los Angeles, theautry.org.

“The Allure of Matter: Material Art From China,” at the Los Angeles County Museum of Art. A group exhibition features contemporary Chinese artists who are deeply engaged with their materials, be it wood, fabric or assembled scraps of photography. The show spans four decades and features work by Ai Weiwei, Cai Guo-Chiang, Song Dong and many others. Through Jan. 5. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.

“Lari Pittman: Declaration of Independence,” at the Hammer Museum. This is the most comprehensive retrospective of the Los Angeles painter, known for producing deeply layered, wildly ornate canvases that draw from an array of historical painting, textile and graphic traditions to address a range of social and historical conditions. In his work, he touches on queer sexuality, colonialism and the deadly ravages of the AIDS crisis — and all the in-between pieces of life that have to do with love, sex and death. Through Jan. 5. 10899 Wilshire Blvd., Westwood, Los Angeles, hammer.ucla.edu.

“Indian Country: The Art of David Bradley,” at the Autry Museum of the American West. This survey exhibition examines the four-decade career of Bradley (Chippewa), who is known for producing vibrant, figurative paintings inspired by the Native experience — while also wryly poking at stereotypes and Hollywood tropes. Through Jan. 5. 4700 Western Heritage Way, Griffith Park, Los Angeles, TheAutry.org.

Charles Gaines, “Palm Trees and Other Works,” and Philip Guston, “Resilience in 1971,” at Hauser & Wirth. The L.A. conceptual artist is known for using numbered grid systems to generate patterns and images — most famously, of trees. His new series is inspired by native California palms from Palm Canyon near Palm Springs. Also on view are works by the late Abstract Expressionist Philip Guston, who in his later years, became known for delving into figuration and the grotesque. The show focuses specifically on works from 1971, a pivotal year for the artist, including his Roma paintings and Richard Nixon drawings. Through Jan. 5. 901 E. 3rd St., downtown Los Angeles, hauserwirth.com.

“Mexicali Biennial: Calafia — Manifesting the Terrestrial Paradise” at the Armory Center for the Arts. The latest iteration of this roving, cross-border biennial is landing in Pasadena and the theme on this go-around are the literary origins of our state: Calafia, the black queen and her Amazon warriors who figure in Garci Rodríguez de Montalvo’s 16th century novel “Las Sergas de Esplandian,” the figure from which California gets its name. Featured in the show are artists such as Sandy Rodriguez, Mely Barragán, Chelle Barbour, Noé Olivas, Chinwe Okona, Cog*nate Collective, Invasorix and many others. As in other iterations of the biennial, there will be more to the show than the exhibition at the Armory Center, with satellite programming in Calexico, Mexicali and Tijuana. Through Jan. 12. 145 N. Raymond Ave., Pasadena, armoryarts.org.

“Manet and Modern Beauty,” at the Getty Museum. Painter Edouard Manet was notorious for large, confrontational nudes that unabashedly challenged convention in their day (such as his infamous “Olympia,” from 1863) and for being part of an upstart group of artists that turned their rejections from the French Academy into the now famous Salon des Refusés. But toward the end of his life, he painted smaller, more intimate works that depicted Paris street life, stylish women and café society. The exhibition will display more than 90 paintings and drawings from the final years of his life. Through Jan. 12. 1200 Getty Center Drive, Brentwood, Los Angeles, getty.edu.

Martin Durazo, “Monolith(ic),” and Chris Kallmyer, “Sundown Shelter,” at the Grand Central Art Center. The Santa Ana arts center has several exhibitions on view. This includes a new installation by Durazo consisting of a Lamassu, the winged Assyrian deity (a symbol of power and protection), which will anchor a structure that will serve as a site of performance and lectures and other public events. Also on view is a new video work by Kallmyer that features Slavic pagan performers in Warsaw. Through Jan.12. 125 N. Broadway, Santa Ana, grandcentralartcenter.com.

Sadie Barnette, “The New Eagle Creek Saloon,” at the Institute of Contemporary Art, Los Angeles. The Oakland-based artist has created an installation that reimagines the Eagle Creek Saloon, the first black-owned gay bar in San Francisco — which happened to be owned by her father, Rodney Barnette (also a founder of the Compton chapter of the Black Panther Party). One part monument, one part sculpture and one part social space, the installation is meant to be the site of regular events. Through Jan. 16. 1717 E. 7th St., downtown Los Angeles, theicala.org.

“Nineteen Nineteen” at the Huntington Library, Art Collections and Botanical Gardens. Exactly a century ago, Henry and Arabella Huntington signed the trust document that established the Huntington Library in San Marino. This exhibition marks that momentous occasion by looking at the era in which the museum was established, the roiling years after World War I. Featured in the show are photographs, paintings, sculpture, maps, posters, rare books and other objects that define that historical moment. Through Jan. 20. 1150 Oxford Rd., San Marino, huntington.org.

“Following the Box,” at the USC Pacific Asia Museum. A show inspired by found photographs links past and present: 12 contemporary artists — two American and 10 Indian — have created works based on images snapped by an unknown U.S. serviceman in India at the end of World War II. The new pieces encompass a wide variety of media, including painting, installation and artist books. Through Jan. 26. 46 N. Los Robles Ave., Pasadena, pacificasiamuseum.usc.edu.

“No Wrong Holes: Thirty Years of Nayland Blake” at the Institute of Contemporary Art, Los Angeles. The influential artist is know for creating works out of modest materials — old shoes, racks of books, old bottles — that touch on heady topics: the vagaries of race, sexuality, gender and dominance. The artist’s adult-sized gingerbread house in one of the galleries will likely generate all manner of chatter, but the poignant works of video, assemblage and drawing will be worth marinading in too. Through Jan. 26. 1717 E. Seventh St., downtown Los Angeles, theicala.org.

“The Foundation of the Museum,” at the Museum of Contemporary Art. This permanent collection exhibition marks the museum’s 40th anniversary with a display of history-making works, including Chris Burden’s “Exposing the Foundation of the Museum,” 1986, in which the artist dug up a portion of the museum’s floor, revealing its concrete foundations. Through Jan. 27. 152 N. Central Ave., downtown Los Angeles, moca.org.

lauren woods, “American Monument,” at the Beall Center for Art + Technology. In this timely exhibition, the artist explores the ways in which African Americans have lost their lives due to police violence. Painstakingly compiled through government records requests, the central work is a sound installation in which viewers can employ the installed turntables to play audio from police killings. The audio is broadcast within the gallery space and to other exterior locations too. The installation generated headlines last year after the director of the University Art Museum at Cal State Long Beach, where it was supposed to be shown, was fired — and woods silenced the work. Now “American Monument” is back on view at UCI, ready to be seen and heard in full. Through Feb. 8. UC Irvine, 712 Arts Plaza, Irvine, beallcenter.uci.edu.

Gabriela Ruiz, “Full of Tears,” at the Vincent Price Art Museum. In her first solo museum show, the Los Angeles artist also known as “Leather Papi” employs a mix of media — video, 3-D mapping, sculptural installation — to examine identity and the self. Expect a full, wild immersion. Through Feb. 15. East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park, vincentpriceartmuseum.org.

Rodney McMillian, “Brown: Videos from the Black Show,” at the Underground Museum. This exhibition consists of a suite of video works previously shown as part of an installation at the Institute of Contemporary Art, Philadelphia that serve as meditations on class, race, gender and economic status around a central axis of blackness. Through Feb. 16. 3508 W. Washington Blvd., Arlington Heights, theunderground-museum.org.

Shirin Neshat, “I Will Greet the Sun Again,” at the Broad Museum. This is the most extensive exhibition to date of work by the New York-based artist, who is known for her elegant photographs and videos, each of which mine an intersecting array of topics, including exile, justice, politics and gender. Though widely known for installations that explore the vagaries of Iranian culture and history, the exhibition shows Neshat turning to other subjects, too: Azerbaijan, the Arab Spring, and a series of surreal stories that she uncovers in the desert of New Mexico. Through Feb. 16. 221 S. Grand Ave, downtown Los Angeles, thebroad.org.

Phillip K. Smith III, “10 Columns,” at Bridge Projects. Smith is known for his large-scale architectural installation projects, such as the mirrored structure he created for the 2017 iteration of Desert X in the Coachella Valley, and the defunct Detroit skybridge he turned into a beacon of colorful light. For the debut of this Hollywood gallery, the artist has created an immersive light installation for the 7,000-square-foot space that is inspired by the shifting nature of light in Los Angeles over the course of a day. Through Feb. 16. 6820 Santa Monica Blvd., Hollywood, bridgeprojects.com.

“Soft Schindler,” at the Mak Center. In 1949, Pauline Schindler, estranged from her husband, R.M. Schindler, painted half of the interior of the Modernist home they shared on Kings Road in West Hollywood a shade of salmon pink. For the architect, the paint job breached a design ethos that was all about natural materials. This exhibition explores that idea — how the various inhabitants of the Schindler House have over time softened its hard “masculine” edges with so-called “feminine” design flourishes: pillows, flower pots and curtains. These design binaries inspired the works on view in the show, which include installations by artists such as Tanya Aguiñiga, Bettina Hubby and Alice Lang, among others. Through Feb. 16. 835 N. Kings Road, West Hollywood, makcenter.org.

Julie Green, “Flown Blue,” at the American Museum of Ceramic Art. Green is known for recycling secondhand porcelain to create original works in shades of cobalt blue — among them “The Last Supper,” a large-scale installation of more than 800 plates that features last meal requests from inmates on death row. Through Feb. 23. 399 N. Garey Ave., Pomona, amoca.org.

George Rodriguez, “Double Vision,” at the Vincent Price Art Museum. For decades, this Los Angeles photographer (whom I profiled last year) captured every aspect of life in Los Angeles: the Eastside blowouts, the rise of rap (he made some of the earliest professional portraits of N.W.A), farm labor activism, the Chicano moratorium, Hollywood dinners, a gig by the Doors at the Whiskey a Go Go, prizefighters in the moments before they climb into the ring and shoeshine boys in downtown. Now the Vincent Price has put together the photographer’s first career retrospective, featuring a range of his images from the 1950s to the early ‘90s. Through Feb. 29. East Los Angeles College, 1301 Cesar Chavez Ave., Monterey Park, vincentpriceartmuseum.org.

Timothy Washington, “Citizen/Ship,” at the California African American Museum. The Los Angeles artist is known for assemblages he crafts from found objects that he embeds into large-scale armatures often dipped in cotton and white glue. For this show, he is displaying his first installation project, “Citizen/Ship,” a work that fuses Afrofuturism and rah-rah patriotism. Through March 1. 600 State Dr., Exposition Park, caamuseum.org.

“Through a Different Lens: Stanley Kubrick Photographs,” at the Skirball Cultural Center. Before he was a film director he was a photographer, taking pictures for Look magazine in the 1940s. This exhibition gathers images from the Look archive and maps the early aesthetic talents of one of cinema’s great eyes. Through March 8. 2701 N. Sepulveda Blvd., Brentwood, Los Angeles, skirball.org.

“El Sueño Americano: The American Dream, Photographs by Tom Kiefer,” at the Skirball Cultural Center. Kiefer gathers objects seized by officials on the U.S. border — objects often deemed “potentially lethal” or “non-essential” — and creates tidy arrangements that he then photographs. The images serve as searing catalogs of the ways in which immigrants are treated upon arrival in the U.S. Kiefer came upon many of these items while working as a janitor at a Customs and Border Protection station in Arizona. Through March 8. 2701 N. Sepulveda Blvd., Brentwood, Los Angeles, skirball.org.

OCMAEXPAND: Six new artist installations at the Orange County Museum of Art. The museum, still in its temporary space in an old furniture showroom near South Coast Plaza (do visit — this is a great space), has a whole new rack of installations by six artists working on the Pacific Rim, all of which are inspired by the environment and the natural world. This includes installations by Carolina Caycedo, Daniel Duford, Ximena Garrido-Lecca, Mulyana, Robert Zhao Renhui and Yang Yongliang. Through March 15. South Coast Plaza Village, 1661 W. Sunflower Ave., Santa Ana, ocmaexpand.org.

Betye Saar: “Call and Response,” at the Los Angeles County Museum of Art. Saar is one of the icons of the Black Arts Movements, a Los Angeles assemblagist known for taking some of the ugliest pieces of our culture’s detritus and making out of them things that are stirring and beautiful. This solo show examines the arc of her practice, pairing early schematic sketches with finished versions of her work from throughout her career. Through April 5. 5905 Wilshire Blvd., Mid-Wilshire, Los Angeles, lacma.org.

“Natural History of Horror,” at the Natural History Museum of Los Angeles County. This exhibition explores our fascination with movie monsters with a display that includes film posters and props but also elements of the natural world that inspired their narratives. This includes a coelacanth fish, which served as the basis for the design of “The Creature From the Black Lagoon.” Through April 19. 900 Exposition Blvd., Exposition Park, Los Angeles, nhm.org.

Daniel Hawkins, “Desert Lighthouse.” The Los Angeles-based artist is obsessed with producing works that toy with ideas of grandiosity, failure and gestures that border on the Sisyphean. (One of his goals as an artist is to ultimately build a scale replica of the Hoover Dam.) Now, Hawkins has installed a 50-foot-tall, fully functioning lighthouse in the Mojave Desert in the vicinity of Barstow. The piece even features a light to guide travelers through this rugged landscape. Directions and coordinates can be found on the website. On long-term view, Hinkley, Calif., desertlighthouse.org.

A celebration of the grand American shrines to cinema that rose to glitzy prominence during the 1920s, April Wright’s well-researched “Going Attractions: The Definitive Story of the Movie Palace,” might not quite live up to its title, but it does a decent job of capturing those golden years.

Sparing no expense when it came to sheer extravagance, theaters including New York’s 6,000-seat Roxy and Chicago’s 46,000-square foot Uptown justifiably earned their palace moniker.

But their existence would prove short-lived. After the Depression put a sizeable dent in their gilded armor, a one-two punch in the form of the Hollywood Antitrust Case of 1948, which limited studios’ ownership of theaters, followed by the advent of television, effectively darkened their marquees.

Before the intervention of film preservationists such as the Los Angeles Historic Theatre Foundation, many had been either sitting empty or used for worship services and swap meets, biding their time before facing an inevitable meeting with the wrecking ball.

Compared to those opulent theaters, the documentary itself is unremarkable in structure, relying heavily on its cavalcade of archival clips and assembled knowledgeable film historians — particularly Leonard Maltin — to provide a context for their rise and fall.

“Going Attractions” nevertheless provides a timely reminder of the once unquestionable value of a shared viewing experience in this era of personal streaming.

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As the drumbeat to impeach President Trump grows louder, Tom Brokaw — a dean of American broadcast journalism — has stepped forward to recall the only time Congress successfully compelled a commander in chief to resign rather than be ousted.

Actually, you could say the 79-year-old Brokaw was similarly compelled by his Random House publishers to pen “The Fall of Richard Nixon, A Reporter Remembers Watergate.” He writes that he was reluctant to take on the project until editors “persuaded me that the current political climate is a reminder that history provides context for large issues and small.”

They even pushed up the publication date to catch those political winds.

While this memoir doesn’t break new ground on the historic scandal that gripped the nation 45 years ago and brought about Nixon’s resignation, it delivers a variety of scenes and reflections that only Brokaw could provide as a relatively young — 33 — White House correspondent for NBC News.

He arrived in Washington in summer 1973, just as the president’s men began falling like dominoes. He had landed the plum White House job after anchoring KNBC’s 11 p.m. newscast in Los Angeles. He writes that some in the grizzled press corps quietly wrote his boss to complain he was “not qualified” to replace the esteemed veteran Richard Valeriani, who was heading off to be the network’s chief diplomatic correspondent.

As it turned out, Brokaw already knew someone who would become a key Watergate figure: When H.R. Haldeman ran the L.A. office of the J. Walter Thompson advertising agency, he had been hired by KNBC to produce an ad campaign touting Brokaw as the face of local election coverage. During the Republican president’s first term, Haldeman, as Nixon’s chief of staff, even offered Brokaw the job of daily White House press secretary. Nixon had approved it but Brokaw declined.

Brokaw recalls those years as a different time, to say the least. The White House press corps was made up mostly of newspaper and magazine men — there were only three women — and a few broadcasters for the national networks. There was no internet, no relentless 24-hour cable news cycle.

“We did not feel forced … to react to every ‘omigod’ from the vast universe of social media — factual, mythical, malicious or fanciful. In contrast to President Trump, President Nixon was seldom seen and rarely heard,” he writes.

Brokaw and his wife, Meredith, developed many friendships and connections on the Georgetown dinner-party circuit. “Guests were usually a mix of Democratic VIPS — Senators Gaylord Nelson, Hubert Humphrey, Ted Kennedy or former defense secretary Robert McNamara, or Bob Strauss, the Texas power lawyer, along with Georgetown pundits like Joe Kraft,” he writes. Not that dinners like that don’t continue today, but many in Congress leave Washington on the weekends and do fundraising back home — such is the thirst for campaign money. As a result of that lost social contact, politicians may know less about what unites them than what divides them.

The basic ins and outs of Watergate are briefly explained as Brokaw tells how he gained footing in his job and how even though Nixon had a big lead over George McGovern in 1972 — he eventually won in a nearly 61% landslide — his campaign sought to gather dirt on his opponent by breaking into Democratic National Headquarters, housed in the hotel and office complex overlooking the Potomac.

The book gains pace as investigators and a federal grand jury begin closing in on Haldeman and others on the president’s staff, and it became known that Nixon had recorded hundreds of potentially incriminating conversations on a secret Oval Office taping system. Court battles arose over “executive privilege” when Nixon claimed he was not required to reveal the private conversations. (That same privilege is now being invoked by President Trump.)

As the pressures mounted, Nixon ordered the firing of Special Prosecutor Archibald Cox, but not before two top Justice Department officials resigned — the so-called “Saturday Night Massacre” — rather than carry out the deed. Then the president launched an aggressive campaign to “take his case to the public,” Brokaw writes. In a televised news conference in October 1973, Nixon said he was innocent and offered this aside:

“I have never heard or seen such outrageous, vicious, distorted reporting in 27 years of public life,” Brokaw quotes the president. The author adds, “(Sound familiar?)”

CBS correspondent Robert Pierpoint asked a follow-up: “What is it about the television coverage … that has so aroused your anger?”

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Nixon responded, “Don’t get the impression you arouse my anger.… You see, one can only be angry with those he respects.”

When a unanimous Supreme Court eventually ordered Nixon to turn over the tapes, transcripts placed a new term into the nation’s lexicon. “Expletive deleted” was inserted whenever Nixon or someone else had used a foul word. Today, most of the terms would seem commonplace to anyone who watches HBO or follows President Trump’s more profane tweets.

Brokaw notes that in his last speech to his White House staff, Nixon — the president who opened relations with China, signed the first nuclear weapons treaty and had a political career spanning nearly 30 years — emphasized that “he was preserving the political expectations of the office.” And Nixon acknowledged the need for a president to have the support of Congress in very difficult decisions.

“I have never been a quitter. To leave office before my term is completed is abhorrent to every instinct in my body,” Nixon said. “But as president I must put the interests of America first.”

The Fall of Richard Nixon, A Reporter Remembers Watergate

Tom Brokaw

Random House: 226 pages, $27

Nottingham is a Southern California writer and former Times editor.

Las Vegas is building a new ice bar in a big way. A dozen ice-carving pros will come to the desert to create Icebar, a standalone lounge adorned with statues of Golden Knights hockey players, daredevil Evel Knievel, 12-foot angel wings (for the Insta crowd) and a North Pole scene. It will take almost 100 tons of ice to create the permanent site, set to open in December, at the Linq Promenade on the Strip.

Here are some of Icebar’s vital statistics:

• It will be built from 650 blocks of bubble-free ice to be as clear as possible.
• Each block weighs 250 pounds.
• Ice statues and walls will be maintained with temperatures kept at a constant 23 degrees Fahrenheit.
• It will be built at the end of the Linq Promenade near the High Roller wheel.

Visitors enter the “warm space” facing the Promenade’s fountain, where they pick up parkas, gloves, etc. Then they proceed into the lounge, which will have some cool nods to Vegas, such as TV footage of Knievel’s legendary motorcycle jump over Caesars fountains in 1967 near the daredevil’s ice statue; and an area where guests can hit hockey pucks into nets near the Golden Knights’ likenesses. Of course, frosty cocktails will be served.

The new site by Minus 5 joins the company’s ice experiences at the Venetian’s Grand Canal Shoppes and Mandalay Bay. The Icebar will be open daily 11 a.m. to 1 a.m. for guests 21 and older. It’s set to open Dec. 1.

Info: Minus5 Icebar

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Can we ever get enough of ourselves? Apparently not, as a new museum opening in Las Vegas might suggest.

My name is Catharine Hamm, and I’m the travel editor for the Los Angeles Times. We also have stories this month for you about how brides can party for free, the good news about Vegas taxi fares, a golf course with greens fees that are out of this world, plus an update on a little Vegas side trip and a tip to how to keep cool in Vegas, which is having weather right now that’s almost hockey-season chilly (for Vegas). Let’s get started.

Museum of Selfies, Take 2

You may know the Museum of Selfies from its Hollywood location, but if you missed it and find yourself near the Miracle Mile Shops beginning Friday or later, you may want to wander in for a look-see. The opening brings a chance to be seen and photographed on a couple of thrones. But writer Mary Forgione also directs you to some authentic selfie spots in Vegas for the real deal.

Playing a round can be expensive

We mean a round of golf, of course. You can head to Wynn’s newly reopened greens and tee off on the Strip. You’ll have to pony up $550 for this pleasure but, on the other hand, you may get picked up in a Rolls-Royce. Oh, and you may actually be able to recoup some of your cost on the par-70 course, Michael Hiller writes: If you shoot a hole-in-one on No. 18, you’ll get a cash prize.

Conserving your cash

Those who have taken a cab from McCarran International Airport know that a taxi trip can take a chunk of change, especially if your driver takes you on a route where you’ll be stalled in traffic forever, called “long hauling,” which increases your fare. Enter the flat rate from the airport to Strip hotels, Jay Jones writes. Your fare will start at $19, no matter how many obstacles you encounter from here to there.

And here’s another way to save money

If you’re getting married, you and your gal pal/besties/bridesmaids can party in fine fashion, starting with a limo. The group can get a six-for-the-price-of-five package, Mary Forgione writes, which starts with your transportation and includes tickets to “Thunder From Down Under,” Jell-O shots and Champagne. (You don’t even really have to be a bridal party — there just must be six of you.)

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Of Kings and Knights

Of course we have the Los Angeles Kings or Anaheim Ducks as our local hockey teams, but if you’re having hockey withdrawal, consider a game played on ice and not at the tables. The Golden Knights had a Cinderella first year, meeting the Washington Capitals in the Stanley Cup Finals and ultimately being defeated in five games. The team is now in its third season, and if you’re looking for updates, game news, etc., check out the Las Vegas Review Journal’s coverage.

And speaking of ice

It’s about to get a whole lot more chill on the Linq Promenade. Minus5, which already has ice bars at Mandalay Bay and the Venetian’s Grand Canal Shoppes, will create a stand-alone Icebar, starting with 650 blocks of sparkling clear Canadian ice. Inside the lounge you’ll find ice carvings of Golden Knights players and daredevil Evel Knievel. And of course, you can get a frosty cocktail too.

Concierges, your new BFF

They are one of the best-kept secrets in the city, a “society of ninjas” that gets things done. Hotel concierges can grant your every wish — if you think to ask. Some of them shared their finest moments with us, like what they did for a very special 21st birthday.

Reaching out and reading us

Let’s start with the easy part first. If you have a comment or a complaint, a compliment or a conundrum, please write to us at [email protected].

If you’re reading this online, please know that you can have this delivered directly to your inbox for a price that just doesn’t get any better than this: This newsletter and others at the L.A. Times are free. You need only sail over to the membership center and sign up.

Finally, think about subscribing to the L.A. Times. It keeps us vibrant when we know you like what we do because we do it with you, the Southern California reader, in mind.

And finally

We’ll be changing up the format of this newsletter next month, but before we do it, we want to hear from you. Tell us here about the kinds of stories, tips and other information you’d like to see.

Until next time, we wish you all the fun you can find and all the cash you need to have it.

Several residential builders have stopped buying and installing Google’s Nest devices after the internet giant overhauled how Nest technology works with other gadgets.

The Alphabet Inc. unit bought Nest in 2014 for $3.2 billion to enter the smart-home market. Nest has become one of the largest makers of internet-connected thermostats, smoke alarms and locks.

The devices were popular with builders who saw a Nest gadget as a way to increase the value of properties. But this year, that began to change as Google exerted more control over Nest and started changing the underlying technology.

As a more independent business, Nest developed software that helped its gadgets communicate with a wide range of products from other manufacturers, through accounts set up directly by users.

As of the end of August this year, however, consumers need a Google account — and access to the company’s voice-based Google Assistant service — to integrate new Nest products with other devices in their homes.

The move may help the internet giant weave its Google Assistant deeper into people’s lives. But for builders it’s just a pain because Nest devices no longer work so well with the other gadgets they install in homes, such as audio and entertainment systems, as well as alarms and other security gear. It’s also a less enticing user proposition with all the privacy permissions that Google Assistant requires.

That has led some builders — who collectively purchase tens of thousands of Nest devices each year — to avoid Nest products.

“We’ve stopped,” said Mark Zikra, vice president of technology at CA Ventures, which builds and operates apartments, senior homes and other property. “In an apartment complex we’re talking about 200, 300 devices that would be installed in one swoop and then all of a sudden everyone moves in. We don’t have the luxury of being able to say, ‘Hey, are you a Google person or are you a Honeywell person?’”

Similar sentiments were shared by others in the construction industry, including two large systems-integration firms that work with hundreds of builders across the United States.

For Sean Weiner, chief technology officer of Bravas Group, the main sticking point is Google’s decision to tie its digital assistant to Nest products. Bravas installs smart-home devices and audio systems in about 3,500 high-end homes a year, and the ability to connect to as many different gadgets as possible is the most important feature. Digital assistants can’t handle these larger, more complex systems, according to Weiner.

“If we put that control in the hands of Google, we’ve lost that control,” he said.

This could dent Nest sales at a time when Google is trying to generate more revenue from consumer hardware. Commercial installers and builders are an important source of smart-home sales, and Nest had developed a program to train professionals how to hook up its gadgets.

Google has said it is being more selective with outside partners to increase security and privacy. At an event this month in New York City, the company highlighted how its home devices and smartphones work together to provide functionality that consumers can’t get unless they go all-in with Google technology. Still, the company is working to increase the number of other devices Nest products work with.

That’s little comfort for builders in the middle of existing projects, such as David Berman, who has been installing electronics in homes since the 1960s. Now, his company sets up networks of smart-home devices in thousands of homes a year. When Google said this year that Nest’s integration technology was changing, he stopped using Nest devices.

“We were more or less forced into the switch,” he said. “When people buy a connected device, they expect it to connect. That’s not something that happens with Nest anymore.”

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Google isn’t alone in trying to tie its devices to a digital assistant. Amazon.com Inc. and Apple Inc. have pursued similar goals, and the smart-home market increasingly revolves around the tech giants, with manufacturers of light bulbs, thermostats, smoke alarms and more struggling to make their wares compatible with all three.

Even though Nest has been owned by Google for five years, it hadn’t been fully pulled into the internet giant’s orbit until now.

When Google announced the acquisition in 2014, Nest said it would share user data only with its own products and services, not Google’s. In a blog post, Nest co-founder Matt Rogers said that “Nest data will stay with Nest” and that the company wasn’t changing its terms of service.

It didn’t take long for that to change. And Rogers’ blog post is no longer available on Nest’s website. Less than six months after the deal, Nest said Google would connect some of its apps, letting Google know whether Nest users were at home. The integration enabled those people to set the temperature of their homes with voice commands and helped Google’s digital assistant set the temperature automatically when it detected the people were returning home.

Initially, smart-home products connected to “home hubs” that acted as a gateway linking many devices — even if they used different communication standards and protocols. “That idea has mostly died” as tech giants take over that central role with their voice assistants and smart speakers, said Frank Gillett, an analyst at Forrester Research.

“This is a symptom of a larger challenge in the smart-home arena,” he added.

Interoperability doesn’t need to be compromised for security and privacy, said Aaron Emigh, chief executive of Brilliant Home Technology Inc., which makes a centralized hub that hosts Amazon’s Alexa voice assistant.

Amazon put Brilliant through many tests, on topics including audio quality and the ability to stop hacks. The same hasn’t happened with Google, he said. Google devices, such as its Home smart speakers, can be used to control Brilliant’s hub with your voice, but the integration is incomplete compared with Alexa, Emigh added.

“What they’re doing is creating a lot of mistrust around Google, and that’s then causing people to deselect Google and Nest as technology platforms,” Emigh said. “That’s happening in droves.”

De Vynck writes for Bloomberg.

Five months after the Trump administration blacklisted China’s Huawei Technologies Co., its business seems alive and well while American firms still don’t know whether they can work with the Chinese company or not.

The Department of Commerce in May added Huawei to what’s known as the entity list in an effort to block U.S. companies from selling components to China’s largest technology company, which it accuses of being a threat to America’s national security. Huawei has denied those claims.

Despite those actions, Huawei reported last week that its revenue grew 24% in the first ninth months of 2019, boosted by a 26% jump in smartphone shipments. There are also signs that U.S. efforts to block the company from the development of 5G technology have yet to make a big dent: Huawei said it has signed more than 60 5G commercial contracts to date worldwide.

The entity listing, which requires American firms to obtain a government license in order to sell to blacklisted firms, has caused complications for U.S. companies.

Tech leaders and their lawyers have argued for months in closed-door meetings with Trump administration officials that the blacklisting of Huawei, one of their biggest customers, is detrimental to their businesses. Many industry executives are confused about the administration’s end goals and haven’t been able to get clarity on when license approvals will be offered despite those discussions, according to several people familiar with the matter.

President Trump said in June after meeting with Chinese President Xi Jinping in Osaka, Japan, that he’d “easily’’ agreed to allow American firms to continue certain exports to Huawei. Weeks later Trump said he’d accelerate the approval process for licenses but none has been granted so far. The president as recently as this month green-lighted the approval of licenses in a meeting with advisors, according to people familiar with the matter, but an announcement has yet to be made.

The Commerce Department, in a statement, said it has received more than 200 license requests about Huawei and its affiliates. “Given the complexity of the matter, the interagency process is ongoing to ensure we correctly identified which licenses were safe to approve,” according to the statement. “Moreover, the Temporary General License remains in effect and was recently renewed.”

Micron Technology Inc.’s Chief Executive Officer Sanjay Mehrotra said in September that the lack of decision on its license applications could result in a worsening decline in sales over the coming quarters. The company gave a disappointing quarterly profit forecast last month, pointing in part to the Huawei restrictions. Broadcom Inc. in June also slashed its annual forecast, citing the U.S.-China trade war and disruption to its relationship with Huawei.

One of the industry’s main arguments for allowing shipments of non-national security-sensitive items is that Huawei can buy some of those components from competitors around the world, including South Korea, Japan and Taiwan.

“Unless the ban succeeds in ‘killing’ Huawei, the result will be reduced U.S. global market share in a number of technology areas, something that will hurt, not help U.S. tech competitiveness,’’ said Robert Atkinson, president of ITIF, a Washington-based think tank.

Some firms have resumed shipments to Huawei even without a verdict on license requests. After a closer look at the rules since May, they determined they could continue supplying products based on an export control law. The rule doesn’t subject a product or service to the entity listing’s constraints if a company can prove that a piece of technology owes less than 25% of its origins to U.S.-based activities.

Micron in June said it had resumed some memory chip shipments to Huawei. Intel Corp., the U.S.’s biggest chipmaker with plants in Oregon, New Mexico and Arizona, has as well. The company also has facilities in Ireland, Israel and China — enabling it to argue that a chunk of the intellectual property in its chips isn’t created in the U.S.

“We know many U.S. companies continue to ship to Huawei but do so using murky workarounds by way of other countries and third parties,” said Samm Sacks, a cybersecurity fellow at New America, a think tank. “It’s questionable whether the Huawei ban has helped U.S. national security so much as created a messy tangle of new problems.”

James McGregor, chairman of consulting firm APCO Worldwide’s greater China region, said he’s focused on what unintended consequences may result from the White House’s actions.

“I’m worried about tech companies decoupling from America over time by removing some of their operations from the U.S.,” McGregor said in an interview with Bloomberg Television on Monday. “They have to look out for the long-term disruption of their business.”

Atkinson cautioned not to over-interpret Huawei’s sales figures because the company has been stockpiling supplies for a while, in anticipation of the U.S. action. He said fourth-quarter sales will be a more accurate indicator of the export ban’s effect, or whether the company has largely circumvented it.

Huawei has said it expects U.S. export restrictions to reduce annual revenue at its consumer devices business by about $10 billion, in part because Google can no longer supply Android updates and apps from Gmail to Maps for the Chinese company’s newest handsets.

Trump has indicated on various occasions that he’d be willing to consider removing the ban on Huawei for better terms in a trade agreement, drawing sharp criticism from China hawks on Capitol Hill.

With the U.S. reaching a “phase one” deal with China earlier this month, the big question now is whether Trump will consider removing Huawei from the entity list or ease restrictions. When announcing the accord on Oct. 11, the administration said the issue wouldn’t be part of this initial pact but that it could be a part of phase two.

Leonard and King write for Bloomberg.

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