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Knock, knock, who’s there? A desire to laugh and play: a selection of sculptural works by Joshua Beliso

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Knock, knock, who’s there? A desire to laugh and play: a selection of sculptural works by Joshua Beliso

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Content Knock, Knock, Who’s There?
A Desire to Laugh and Play: A Selection of Sculptural Works by Joshua Beliso
by
Joshua Beliso
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the Requirements for the Degree
MASTER OF FINE ARTS
May 2020
Copyright Joshua Beliso 2020
Dedication
This Thesis is dedicated to my daughter
Stevie Joy Beliso and her infectious laughter.
May she never forget to laugh and play in every aspect of her life.
ii
Table of Contents
Dedication ii
List of Figures iv
Abstract v
Introduction 1
Chapter 1: Humor & Play 3
Chapter 2: Earlier Works, 2014 - 2019 12
Chapter 3: Current Work, 2019-2020 19
Chapter 4: Conclusion 25
Bibliography 29
iii
List of Figures
Chapter 1: Humor & Play
Figure 1.1 D’ s Nutz, 2020, Stone marble on yellow pedestal
Figure 1.2 Glass Is, 2014, Stone alabaster (Orange Translucent) on blue wall mount
Figure 1.3 Milk Shake Monday, 2016, Stone marble (Carrara) on orange table stand
Figure 1.4 Groucho Knows, 2020, Stone onyx (Persian Pink), black marble (San-
dalwood), painted wood on blue Pedestal
Chapter 2: Earlier Works, 2014 - 2019
Figure 2.1 Decorator Crab: Langley, Liz. “Absolutely Crabulous: Why Some
Crabs Get Dressed Up.” See Crabs That Decorate Themselves With Style,
August 31, 2018. https://www.nationalgeographic.com/animals/2018/08/
animals-crabs-behavior-camouflage-defense/.
Photograph by Chris Newbert, Minden Pictures/Nat Geo image collection
Figure 2.2 Marilyn’ s Medusa, 2018, Stone alabaster (Italian Ice) on Padauk stand
Figure 2.3 Bacon, 2015, Stone alabaster (Utah Raspberry), loose form
Figure 2.4 Two For One, 2019, Stone marble (Carrara), yellow calcite on red
pedestal
Chapter 3: Current Work, 2019-2020
Figure 3.1 Banana Splits, 2020, Stone marble (Bardiglio Scuro) on floor
iv
Abstract
My work in carved stone sculpture involves using varying degrees of play and types of
humor. This thesis delves into the concept of how play, humor, and popular kitsch function in my
sculptures and within culture at large. I introduce humor as a complex organism that reacts much
like living tissue, made up of specific organs and structural elements needed to constitute its ex-
istence. I spotlight the different categories of humor which I have found inspirational and useful
in my work. My earlier work highlights the cultural significance of wigs, food, drinks and other
everyday objects. In discussing my more recent work I explore theories surrounding humor and
play. In the conclusion I connect these varying elements of play to other commodities in popular
culture that will be included in my MFA thesis exhibition. Ultimately, this thesis is aimed to pro-
vide a context for my work and to further a better understanding about my use of humor and play
in sculptural objects.
v
Everything without exception was comic. Laughter was as universal as seriousness; it
was directed at the whole world, at history, at all societies, at ideology. It was the world’s
second truth extended to everything and from which nothing is taken away. It was, as it
were, the festive aspect of the whole world in all its elements, the second revelation of the
world in play and laughter. -Mikhail Bakhtin
1
Introduction
As Mikhail Bakhtin notes in the epigraph above, everything is comic, laughter is univer-
sal, and the world revels in play. If humanity embraces humor and play as reliable sources of
existence, they becomes a core resolution to which we can all subscribe. Much of life can, in
fact, be reduced to humor and play, in both serious expressions and that of foolish shenanigans.
As an artist I have long been perplexed and in some ways obsessed with the overlapping nature
of life as both a drama and as a comedy. The “dramedy,” allows for me a freedom within the
spectrum of art-making. I can address anything and everything that flows through the dark un-
dertone of more serious matters, while also exaggerating the funny and the comedic veins of an
idea.
Most of my work involves using varying degrees and types of humor. As Bakhtin ex-
plains about humor:
It is one of the essential forms of truth concerning the world as a whole, concerning
history and man; the world is seen a new, no less (and perhaps more) profoundly than
seen from the serious standpoint. Therefore, laughter is just as admissible in great
literature, posing universal problems, as seriousness. Certain aspects of the world are
accessible only to laughter.
2
Humor is a complex organism. I refer to it as an organism because it reacts and is influenced like
living tissue. Humor ages and changes with time. Much like living tissue, it is made
Mikhail Bahktin, as quoted in Terry Eagleton, Humor. (London: Yale University Press, 2019) pg.33.
1
Ibid, pg, 31.
2
1
up of specific organs and structural elements needed to constitute its existence.
Why is humor so important? What does humor do for humans? How does it affect us so-
cially? Perhaps most importantly, why are we developing conflicts with what might be the most
significant freedom we have achieved within our existence as socially complex organisms? I
believe humor contains unspeakable truths. Even the darkest and most triggering humor can hold
incredible value to some. For example, humor lifts the veil from truths that we do not like to
think about and exposes us to perspectives that might offend. These are the same ideas that might
also make one think outside one's own closeted echo chamber. Humor is more than a right, it can
be an indicator of social balance. As American civil right activist Clarence Darrow once said, “if
you lose the power to laugh, you lose the power to think.” This is why I propose that humor is
3
necessary for a society to function. When humor is placed on the chopping block, out of fear of
being offended, all that we know as humans is on the table.
I will begin this thesis by discussing some of the different categories of humor that I have
found inspirational and use this as an introduction to some of my sculptures. I will then delve
into the concept of play and discuss how play, humor, and kitsch function within culture at large,
as well as in my work. Finally, I will talk about some of the overarching themes from my earlier
work including wigs, food, drinks and other everyday objects. They are also inspired by other
commodities in popular culture, up to my most recent projects that will be in my MFA thesis ex-
hibition. Ultimately I want this thesis to provide context for my work, to further a better under-
standing of why I make these objects.
Clarence Darrow Quotes. BrainyQuote.com, BrainyMedia Inc, 2019. https://www.brainyquote.com/quotes/
3
clarence_darrow_163059, accessed December 6, 2019.
2
I. Humor and Play
HUMOR
There are several different categories of humor––some of which overlap—which are of
interest to me and relevant to my work:
1. Referential humor: common experience and mundane/audience can relate
2. Parody- mimicry of a familiar character/trope/cliché in an unfamiliar way
3. Madcap- silly, wacky, non-sensical humor
4. Hyperbole- exaggeration to absurd extreme
5. Wordplay- puns, rhymes, and double entendres
6. Meta-Humor- Jokes about jokes or about the idea of humor
4
The first is referential humor, or humor of the mundane. This style of comedy aligns with
my interests in popular culture. Referential humor can be experienced most commonly through
personal observation and common example, something we can all relate to at some point. For
example, let’s imagine that you are driving around looking for a parking space in downtown Los
Angeles in the rain. After finding space after space that seemed open, you see a sign with a se-
ries of parking time, day, and permit regulations present that in turn make it impossible to find a
suitable space to park in what appears to be a street full of many parking opportunities. This ex-
perience serves an anti-climactic damper on the moment, as feelings of relatable agitation can
arise. It is in moments like these that I find a special kind of occurrence, one of camaraderie
among all city dwellers amidst any major metropolis. The re-telling of the story to friends or an
audience can often be quite charged and provoking of an emotional response, one that is often
These types of humor are culled from various on-line sources including:
4
Stephen Johnson,. “Every Joke Falls in One of 11 Categories, Says Founding Editor of The Onion.” Big Think. Big
Think, June 17, 2019. https://bigthink.com/stephen-johnson/every-joke-falls-in-one-of-these-11-categories-accord-
ing-to-the-founder-of-the-onion and Mark Nichol,. “20 Types and Forms of Humor.” Daily Writing Tips. Accessed
November 28, 2019. https://www.dailywritingtips.com/20-types-and-forms-of-humor/
3
deemed funny and eligible for spouts of laughter. You might even find yourself or others mutter-
ing “so true” without even realizing it.
This style of referential humor is most relevant to my inspirational processes. I do not
usually seek out content or ideas to specifically consider when thinking about a potential design
or object to make. It's a much more intuitive process, a process that reflects the day-to-day as-
pects of life: what I see and experience. It is the repetitive nature of what I am surrounded by that
often catches my attention. I then hold onto that in hopes of another moment to reference it back
too, creating a strong cycle of occurrence before I actually begin considering it as an idea for an
object.
Now, take this same situation and apply it to a parody sequence. In fact, if one were to
pull up a video search on their computer, phone, or any connected device and searched “parking
parody” you will find dozens of parking videos parodying the confusing signs as hieroglyphics
or ancients alien languages, as well as other funny and relatable situations. This is quite humor-
ous, especially because everyone can relate to it. These tropes of humor I find to be the most
powerful in my selection of concepts from within popular culture in any generation. Be it Mari-
lyn Monroe’s hair style, mythological medusa, or cured meats in popular culinary trends (bacon).
Another fine example of parody would be from Terry Eagleton’s book Humor, as he introduces
Sigmund Freud’s ideas of how humor can spring from repressed impulses:

4
In the more innocuous kind of joke, so Freud argues, the humor springs from the release
of the repressed impulse, while in obscene or abusive joking it stems from the relaxation
of the repression itself. Blasphemous jokes also allow us to relax such inhibitions, as in
the tale of the pope and Bill Clinton dying on the same day. By some bureaucratic blun-
der, Clinton was dispatched to heaven while the pope was sent to hell. The error, howev-
er, was rapidly rectified, and the two men managed to snatch a quick word as they passed
one another going in opposite directions-the pope remarking on how excited he was to
see the Virgin Mary, and Clinton informing him he was just ten minutes too late.
5
The two categories of humor that tend to overlap in brilliant ways are hyperbolic and madcap
styles. A hyperbole is an expression of an extreme exaggeration, “I’m so hungry I could eat a
horse!” or “you are as skinny as a toothpick” are some classic examples of hyperbole humor.
What is great about hyperboles is that you can use essentially any topic and exaggerate it in a
funny way so the material or subject matter can be anything. In my art practice I often work to
exaggerate the obvious and the intentionally literal objects I explore. A current example would be
of sculpture D’ s Nutz (2020) (fig #1), in which I intentionally exaggerate the phallic qualities of a
snake-in-a-can toy, which is, by design, a symbolic stand in for a set of male genitals. This is
where the hyperbole and madcap overlap exists. Madcap humor is a style of comedy that uses
more slapstick or silly low brow antics. For example, the classic gag stage act of slipping on a
banana peel is a fine representation of madcap humor (See Banana Splits in section 3). The
founding fathers of this style can be traced back to Charlie Chaplin, Groucho Marx, and “Slid-
ing” Willy Watson, the first entertainer to use the banana peel as a comedic tool.
I often begin my artistic process and conceptual development in far-off absurd ideas that
could be considered both hyperbole and madcap. I try to make my pieces so wacky and exagger-
Eagleton, pg. 12-13.
5
5
ated that they become ridiculous. For instance, only after I maximize on the extreme fronts of
these ideas can I work backwards to find an idea worth pursuing.
In his book Humor, Terry Eagleton observes the Freudian aspects of the jokes, absurdity
and word play:
…in Freud’s view, the pleasurable form of the joke itself (wordplay, snatches of non-
sense, absurd association and so on) may lead the super ego to relax its vigilance for a
moment, which then allows the anarchic id an opportunity to thrust the censored feeling
to the fore. The “forepleasure” of the joke’s verbal form, as Freud calls it, lowers our in-
hibitions, softens us up and in doing so cajoles us into accepting the joke’s sexual or ag-
gressive content, as we might not otherwise be ready to do.
6
The category of word play, most commonly used in semiotics, where it functions as a transition
in the meaning signs. The sign can be a word, actual signage that makes up a word, or even a
symbol. A great example of wordplay is once again visible in the everyday signs we see. Often
street names will have awkward wording that leads to a double meaning. For instance, in Ba-
kersfield, CA, there is “Inyo Street” and “Butte Street,” the intersection of which would sound
like “in your butt,” a kind of raunchy word play. I use this kind of word play with many of my
titles, for example, my sculpture, Glass Is (2014) (fig. #2 ) a pair of sun-glasses, and therefore, a
pun.
Playful word humor can be paralleled to the example of meta-humor which breaks the 4th
wall or willfully revealing the joke is on the joke. An example of meta-humor world be a simple
knock-knock joke:

Ibid, pg. 13.
6
6
Knock, knock
Who’ s there?
Lettuce.
Lettuce, who?
Lettuce tell some more bad knock-knock jokes.
The jokes humor is not just in the wordplay. Lettuce is a vegetable, and yet it sounds like “let
us”, but this whole sequence serves to reveal that the joke is about the joke. I find that wordplay
and meta-humor are valuable strategies in selecting titles for my work. These qualities give a
more enriching meaning to the piece and can lead to new ways of receiving the work. Another
sculpture, Milkshake Monday (2016) (fig. # 3) is a glass carved in white marble with milk splash-
ing out of it, which is a humorous visual pun since liquid is rendered as a solid.
PLAY
In Johan Huizinga’s famous study on the nature of play, he observes:
Here we have at once a very important point: even in its simplest forms on the animal
level, play is more than a mere physiological phenomenon or a psychological reflex. It
goes beyond the confines of purely physical or purely biological activity. It is a signifi-
cant function—that is to say, there is some sense to it. In play there is something “at
play” which transcends the immediate needs of life and imparts meaning to the action.
All play means something. If we call the active principle that makes up the essence of
play, “‘instinct”’, we explain nothing; if we call it “‘mind”’ or “‘will”’ we say too much.
However we may regard it, the very fact that play has a meaning implies a non-material-
istic quality in the nature of the thing itself.
7
Play can exude in a multitude of ways: like humor, it is very integral to culture and in turn, cul-
ture can also be critical of it. In this way there are dedicated regions for play and Tom Foolery
that are separate from the workplace. From playgrounds to sports arenas, we have for thousands
of years, applied borders and restrictions to such a simple freedom. Now there may be restric-
Huizinga, Johan. Homo Ludens: A Study of the Play-Element in culture. (Connecticut: Martino Publish
7
-
ing, 2014) pg. 1.
7
tions to play and how it is expressed and participated amongst individuals, but to be clear “first
and foremost, then, all play is a voluntary activity. Play to order is no longer play: it could at best
be just a forcible imitation of it.”
8
Just as there are dedicated spaces for humor, there are specific places dedicated to the ex-
pression of play and like humor, it cannot be forced. For an audience the joke either works or it
does not. In my work, the play aspect can be very fickle: sometimes it is overwhelmingly obvi-
ous, and other times it does not seem to be present at all. Nor should it, I suppose. I find it more
prevalent in the realm of fun or, more specifically, in its lack of seriousness. As Huizinga has also
noted: “What is true of laughter is true also of the comic. The comic comes under the category of
non-seriousness and has certain affinities with laughter—it provokes laughter. But its relation-
ship to play is subsidiary.” When we play, we tend to laugh, and a sense of ease and relaxation is
9
common in experience. There is no room for seriousness to exist in my work, otherwise the play
element would not exist. However, play and my work is not lacking serious importance. As
Huizinga continues to explain, play can in fact be taken very seriously indeed:
All the terms in this loosely connected group of ideas—play, laughter, folly,
wit, jest, the comic, etc.—share the characteristics which we had to attribute to play,
namely, that of resisting any attempt to reduce it to other terms. Their rationale and their
mutual relationships must lie in a very deep layer of our mental being.
10
In many ways, in art, there is always the potential for play. To take part in an exhibition is an act
of play. The artist is nearly always toying with you, playing with your emotions, your desires,
your thoughts, and your security. The act of play in art can be profoundly powerful. The exhibi-
Ibid, pg. 7
8
Ibid, pg. 6.
9
Ibid.
10
8
tion is a ritual of the artist. It is, to me, it is my rite to representation and “the function of the rite,
therefore, is far from being merely imitative; it causes the worshippers to participate in the sacred
happening itself.” It is a willingness that is generated by the space. Do not enter if you are not
11
willing to play by the rules of the game, unless the rule is to break the rules, as is often pursued
in contemporary art scenes, but this may only result in more rules to follow. You cannot escape
the rules of play, you can only change them for better or for worse, but that is up to the individ-
ual. To change the rules as an individual at play is subject to criticism by the group at play. In
this way, play becomes vastly more complicated. It propels me to work on an individual basis. It
allows me to be genuine to myself, my work, and the people who participate with my work.
My interests have sought to combine the monolithic nature of stone sculpture with both
movement and every-day commodities. As I explore the malleability of the sculptural materials I
use, I combine my interest in contemporary object-hood with the fluidity of movement and jest.
Using an archaic medium such as stone to embody mundane objects, is both a love letter to mate-
rialism and a subtle critique of it.
The great stone sculptors throughout history created art that was rooted in exaggerated
tales. They depicted gods, monsters, and vixens. Rather than immortalizing concepts from folk-
lore, my work focuses largely on mundane things that contemporary societies tend to value such
as our hairstyles and accessories, but ultimately, these also represent our identities. By represent-
ing these objects using a medium like stone, these trends take on new meaning, transitioning
from something that is fleeting to an object that is permanent and timeless. A new space is creat-
ed between low-end, mass-produced products and their transition towards the monumental, cre-
Ibid, pg. 15.
11
9
ating a newly realized context. As a result, I find myself producing luxurious versions of bargain-
counter objects. This process reveals the tension between high-end and low-end, as well as how
the concept of “value” is defined by object-hood. For example, my recent work Groucho Knows
(2020) (fig. 4) of which I will discuss in depth later, is an example of this low-end object transi-
tioning to a high-end spectacle.
Stone is powerful by design, and exudes a monumental quality even before it is touched
by the artist or craftsman. Marble is earth in its most pure form, containing shells and leftover
coral deposits, as well as bones from ancient organisms. The aesthetics of stone and marble can
be manipulated, but their essence remains untouched. I am provoked by this entanglement dis-
crepancy between organic substances with an expanding consumer culture that is becoming more
and more defined by its objects. Additionally, I seek to test the boundaries of the materials them-
selves. The alchemy of material transcendence is to turn stone into milk, or into a Q-tip.
Humor and play, like stone, is a form of purity. Like an earthly material, it cannot be
faked, which any comedian in front of a human audience can attest to. The reality of existence
continually subjects us to the perils of life, leaving us in a continuous state of seriousness. Humor
and play are essential elements in a world consumed by an obsession with fear and pain. All
artists, in some way or another, interact with emotion in their work. Given the choice, I am most
naturally drawn to humor. I have long been thoroughly entranced and motivated by the elements
of humor and play, and have pushed it as a strong theme in my work. Both humor and play share
reactive roles and can have a somatic effect on the body that can influence beyond its semiotic
realm, “humor involves a gratifying release of tension which mimes the event of orgasm, even
10
non-sexual varieties have subdued sexual overtones.” I find this wavy border between the two
12
as not just complimentary, but utterly fascinating, and influential in the most humbling of ways.
Such simple concepts of play and humor can indeed change the world.
To help you to understand my specific use of humor and play elements in my work I
would like to discuss in this next section specific themes and series of work, beginning with
some earlier pieces made before my pursuit of a Masters in Fine Art.
Eagleton, pg. 19.
12
11
II. Earlier Works, 2014 - 2019
WIGS
I personally do not like wigs. However, I would be a fool not to recognize their impor-
tance to human culture. In many ways, it is our decorator crab-like tendencies (figure #5) that
provoke and compel us to decorate our bodies and provide protection for our very vulnerable
heads. To begin, we must understand the historical importance and long endured nature of the
wig. Wigs have long held their place in society, having been reinvented and stylized for thou-
sands of years. Ancient Egyptians originally used wigs made of vegetable fibers and human hair
to protect themselves from the heat of the sun and common parasites such as lice, only later to
begin using them to establishing a hierarchy defined by the materials and designs of the wigs.
The Egyptians were not the only ancient civilizations to adopt this fashion, among others were
the Assyrians, the Greeks, the Romans, and the Jewish people of Israel to name a few.
Both men, women, and children took part in the revolution of style and functionality of
wigs as their designs progressed. It was not until the middle ages (1200-1400 A.D.) that wigs
were tossed to the side for a period, due to extreme civil unrest and change of societal norms.
Flaunting was no longer fashionable and a more austere lifestyle was encouraged among the
general public and elite. Only later to be brought back into high fashion by none other than the
French during the Renaissance (1400-1600 A.D.). Another role the wig served was to help with
hair loss, a very common symptom of various illnesses throughout all of Europe and into parts of
Asia, as far as Japan. Also, let us not forget Marie Antoinette and her glorious wigs that were
nothing short of a spectacle, having once wore a wig in the exact design of a celebrated ship.
12
The demand for these objects endured, so did the craftsmen behind them, the first wig-
makers guild was established in 1673 and was seen as an honorable profession. These “fun facts”
attest to my theory about the entanglement of decoration and protection:
The word "wigs," itself, is taken from "periwigs" which was the name of the particular
long, curly wigs that became popular after Charles II was returned to the throne in 1660.
Some historians attribute popular fashion status of the periwig to Louis XIII. The periwig
simulated real hair and was primarily used for adornment or to cover the loss of real hair.
Periwigs became extremely sought after it achieved status symbol. Having become a tra-
dition of the English Court, the periwig is still seen today in modern British courts.
13
To the people of the 20th century onward, the wig was now more of a novelty than a fashion icon
and status symbol in society. It is still a popular object, mostly reserved for celebrity enhance-
ment, holidays such as Halloween, and theatrical performances. With the introduction of synthet-
ic hair and factory designs the wig has become an affordable item to all. It however, is still wide-
ly used throughout the medical community as a solution to hair loss during chemotherapy and
from old age.
I aimed to fuse the Greek history of wigs with the contemporary use of wig fashion by
constructing Marilyn’ s Medusa (2018) (fig. 6), which serves as homage to the two legendary
women whom are still emulate today. One can very easily find a Medusa wig at most costume
stores, and at times, even the Getty Museum has stocked them. There’s an intentional irony of
making a wig out of stone. In Greek myth, creatures possess the power to turn people into stone,
creating a potential for a silly and playful interpretation––a mockery as tribute. The same applies
to the subject of Marilyn Monroe and her iconic platinum blonde locks: a force nothing short of a
Elegant Wigs. “The History Of Wigs.” Accessed January 4, 2020 at
13
https://www.elegantwigs.com/history-of-wigs.html
13
fairy tale that was laced with tragedy. Marilyn, in her own way, could enact a similar power as
Medusa by striking her devotees frozen in awe, like stone.
I do not use the wig as people of the past have traditionally used them. In fact, my wigs
cannot reasonably be worn. Not because of their shape or even the material, but mostly because
of their size and weight––wearing 20-30 pounds of rock on your head is not recommended. The
wigs function as art objects, taking on the humor of parody and the momentum generated by the
wig culture. They also serve as symbols of pop culture, an influence that I will explain in length
in a separate section of this thesis. The drawn-out, eventual downfall of the wig is humorous be-
cause “humor springs from the clash of incongruous aspects––a sudden shift of perspective, an
unexpected slippage of meaning, an arresting dissonance or discrepancy, a momentary defamil-
iarizing of the familiar and so on.” Their historical popularity as an object, social importance,
14
and infinite styles and modifications through the ages, led me to take interest in this object.
Ever-present in the idea behind my objects is an element of kitsch. Clement Greenburg
defined kitsch as “popular, commercial art and literature with their chromeotypes, magazine cov-
ers, illustrations, ads, slick and pulp fiction, comics, Tin Pan Alley music, tap dancing, Holly-
wood movies, etc,” and comment on its relation to the art world and popular culture:
15

Eagleton, pg. 67.
14
Greenberg, Art And Culture: Critical Essays (Boston: Beacon Press, 1965) pg. 9.
15
14
The infinite gradations of popularized "modernism" and "modernistic" kitsch, corre-
sponds in turn to a social interval, a social interval that has always existed in formal cul-
ture, as elsewhere in civilized society, and whose two termini converge and diverge in
fixed relation to the increasing or decreasing stability of the given society.There has al-
ways been on one side the minority of the powerful-and therefore the cultivated-and on
the other the great mass of the exploited and poor-and therefore the ignorant. Formal cul-
ture has always belonged to the first, while the last have had to content themselves with
folk or rudimentary culture, or kitsch.
16

This statement is in reference to a different time. However, it provides a clear definition that can
be applied to the social appetite of the contemporary art scene, the collectors, the curators, the
movements and politics. It is kitsch that we find all that is mass-produced and widely accessible
to all classes. It is not only based on object-hood, it can function as a societal apparatus or as an
“influencer.” Take Twitter for example, a place of presumably highly influential speakers and
visionaries who indoctrinate people by the masses into various social dogmas. Even the art world
has its gurus, none of which are purely without political intention. The political monster that art
has become and maybe always has been capable of, has taken to a much larger stage: woke cul-
ture, social justice warriors, political correctness, and identity politics. For my wigs, the idea is to
turn the kitsch object into a monument of its now low-brow societal position. It is, in essence,
making fun and playing with the idea of the object as an item of luxury, when in reality it is a
cheap, plastic, and disposable item with no real importance.
FOOD
The apple has been an icon of the battle between good and evil throughout religion and
mythology: it is the fruit of consciousness, which the serpent used in the Garden of Eden as a gift
of burden. Falling from the tree of knowledge, the apple represents our ability to see all that is
Ibid, pg. 16
16
15
good and evil within ourselves. It is a symbol of health as popularized in the phrase, “an apple a
day keeps the doctor away.” One of the most successful computer and tech companies of all time
took the apple as its symbol, along with arguably the world’s most influential band, The Beatles.
The apple is much more than a sweet fruit, it represents the human identity – good, bad, and oth-
erwise. The apple's immense significance in human culture is an example of how food can tran-
scend its means.
Now consider the banana. This fruit has had its place on the breakfast table for many
generations. Much like the apple, it has its own iconic, celebrity status. The word banana is uni-
versal across the globe, largely due to the fact that it was the first cultivated fruit. In fact, like the
wigs mentioned earlier in this essay, bananas have even been included amongst notable symbols
of ancient Egyptian hieroglyphics. Warhol saw its special qualities, as many have before him,
and used the banana to brand the band The Velvet Underground. This is how we react to the
foods we eat, forming bonds and relationships with them. These bonds ultimately serve as a
gateway for the creation of popular cult branding, like Banana Republic. In political science, a
"banana republic" is defined as an unstable country whose economy is reliant upon the exploita-
tion of a specific product - like bananas. Mel and Patricia Ziegler created the fashion chain "Ba-
nana Republic" after their travel-heavy jobs led them to discover fashion choices from around
the world. Here, the banana takes on multiple meanings, transcending from its edible form into
popular culture.
I have attempted to create many food and drink sculptures, and realize that capturing the
beautiful details that make our food look fabulous has proven to be difficult. Milk Shake Monday
(2015) (fig. 3) was my first attempt at modeling a sculpture out of a simple glass of milk. The
16
Carrara marble’s milky-white hue contributed to its referential humor. The object frozen in mo-
tion relates to the experience of splashing. It captures the very moment when, a cookie soggy
with milk from the first dunk, completely erodes away from the majority of its center. The famil-
iar "dunking" action creates a large splash. This action leaves the person dunking the cookie wet
and sullied, but also satisfied. This sculpture was my most ambitious attempt at capturing the
beauty of food and the fluidity of the creamy milk, translated through the softness of the stone.
To turn stone to milk was my mantra, and still is today.
The importance of food does not stop at produce. The ability to harness the emphatic con-
tempt that a food item can have on an individual ranges far and vast. I have also worked with the
idea of meats and in particular, bacon, in my Bacon (2015) paper weight series (fig #7). Unlike
Banana, bacon has many names and has not made itself quite as prevalent in history. However,
bacon is on the rise in popular culture. It has become more than a breakfast food item and has
transcended into a popular staple amongst the culinary circuits. The “belly" form of bacon now
acts as the entrée itself. My bacon was created from a select, grade-A chunk of prime Raspberry
Utah Alabaster. For a brief period, I reinvented and advertised myself on social media as a local
Southern Californian “Stone Butcher.” I began to slice and prepare my bacon slabs as you might
see an actual butcher prepare their meats for the market. I have since ceased to make stone ba-
con, though my eggs are in need of a fatty side dish.
Two For One (2019) (Fig. #8) is a stone representation of a sunny side up double-yolk
egg. It is an exaggerated piece by design. Something similar to that of an Ostrich egg in size, this
piece was conceived by the attention that the egg was receiving in the contemporary world. In
2019, an egg-themed museum pop-up had just opened in LA. I was noticing murals, jewelry, tat-
17
toos, Instagram art and posts utilizing the egg. In reference to “meme” culture, a hard-boiled egg
had just surpassed Kylie Jenner in Instagram followers and likes. While the most popular image
on the internet was hard boiled, the world was sunny-side-up in my eyes. I was experiencing a
kaleidoscopic intake of egg propaganda. As the tunnel vision cleared, I broke through the oozy
and warm center. I decided something egg-related would be my next project.
18
III. Current Work, 2019-2020
Gags
My current work focuses on a specific set of objects within the realm of gag humor. The
term "gag" itself is most commonly defined as an object used to silence or to keep someone
complacent. However, I am referring to the visual gag of humor. As defined in Art and Popular
Culture:
In comedy, a visual gag or sight gag is anything which conveys its humor visually, often
without words being used at all.There are numerous examples in cinema history of direc-
tors who based most of the humor in their films on visual gags, even to the point of using
no or minimal dialogue. The first known use of a visual gag was in the Lumière brothers'
1895 short, L'Arroseur Arrosé ("The Waterer Watered"), in which a gardener watering his
plants becomes the subject of a boy's prank.
17
For example, a whoopee cushion is a gag toy. Because it is an object, it defines the physical and
the visual aspects of gag. In fact, the whoopee cushion can often convey its funny properties
without anyone sitting upon it––just the sight of the prop/toy is enough to build the anticipation
for its comical sounds. Many small children cannot contain themselves even before the object is
performed.
There is great power in the gag. Gags are universal and cross cultural, pulling out laugh
ter and pleasure from the most basic and genuine essence of the human laugh cycle, the purity of
the laugh. This purity of laughter is there when someone greases the binoculars on a hike, leav
ing you with a ring around your eye all day. It is there when you shake someone's hand only to
get a jolt of surprise from a hand buzzer. It is there when someone puts a fake fly in your water.
We all react similarly to these gags, no matter where and when we came from. There are, of
Art and Popular Culture. “Visual Gag.” Accessed January 14, 2020
17
Andy Warhol Quotes. BrainyQuote.com, BrainyMedia Inc, 2020. https://www.brainyquote.com/quotes/
andy_warhol_109783, accessed January 14, 2020.
19
course, outlier cases, in which the consequences might be very different. Playing a gag on
Genghis Khan or any other social member with a debilitating tilt towards the pathological, would
certainly yield less pleasurable results. Groucho Marx of the Marx Brothers is one of the orignal
comedic legends of the silver screen. He was known for his witty verbal assaults and crude
commentary. He mastered the delicate instrument of our heart strings, as he plucked at our intri-
cate impulses.
Marx did not always have commercial success, though he was very popular within his
genre and his time. His personae and films became cult classics. He started his career with his
brothers; Chico, Harpo, Gummo, and Zeppo. After breaking into show business, Groucho soon
left his brothers behind, and for the rest of his life was known as his popular comedic personality,
Groucho Marx. He has since become an icon of comedy in popular culture, rivaling the great
Charlie Chaplin. He is, as a result, a master of gag. In fact, his face has become the punchline of
a gag, as millions of Groucho Marx Glasses have been sold across the world since the early
1940s. These popular toy glasses, also sometimes referred to as Disguise Glasses and The Bea-
glepuss, have taken on a personae of their own. Although generations that look up to Groucho
Marx are waning, Groucho’s greatness will forever be instilled in this monumental, kitsch toy,
which will likely forever be a valid mark of popular culture.
These glasses have not only struck my interest, they have helped me to understand my
own work to a greater degree. This is why I am currently working on Groucho Knows (fig. 4) a
larger-than-life monumental representation of this iconic gag toy. It is primarily built out of
stones—fine black marble and pink onyx—; with the glasses and pedestal constructed of wood.
It pays homage to the master of insults and whimsy. The piece is meant to juxtapose both the ma-
20
terial and existence of the toy. The glasses have primarily existed in kitsch for over 50 years, of-
ten marked as a discount item at the local 99 cents store. Still, this master object has somehow
transcended the sharp sweeping and self-mutilating sense of popularity for the larger half of the
20th century onward: a powerful object indeed. It is something similar to that of a cockroach I
suspect; no matter how dead and insignificant they seem, they always make a comeback, often in
greater numbers. If only Groucho were alive to see the final product of my labors, I image he
might repeat his well-documented phrase, “Well, art is art, isn't it? Still, on the other hand, water
is water. And east is east and west is west and if you take cranberries and stew them like apple-
sauce they taste much more like prunes than rhubarb does. Now you tell me what you know.”
18
My adaptation of the Groucho Marx glasses presents the object as a piece to both interact with
phenomenologically and to witness as a spectacle of celebrity, turning the cheap and accessible
toy into an object as lucrative as its materials.
Another current work of mine within the category of gags, is my sculpture Banana Splits
(2020) (fig. 9). My interest in this “great slipping banana gag” stems from the early film bits of
physical comedy. The banana gaga started as an early stage act during the 19th century where
bananas were used as stand ins for horse manure in comedic acts. Many of the streets during this
time were littered with manure from the common transport methods of horse and carriage leav-
ing many unsanitary obstacles to trip on. This common sight of slipping was quite a humorous
thing to witness for any on-lookers in the area. However, the reality of slipping on a banana was
as a very real threat, as mentioned in the popular magazine Harper’ s Bazaar:
Groucho Marx Quotes. BrainyQuote.com, BrainyMedia Inc, 2020. https://www.brainyquote.com/quotes/grou
18
-
cho_marx_102019, accessed January 20, 2020.
21
In 1879, the popular magazine Harper’ s Weekly criticized people for haphazardly
tossing their banana peels on ground by saying “ “whosoever throws banana skins on
the sidewalk does a great unkindness to the public, and is quite likely to be responsi-
ble for a broken limb.” This wasn’t just a tall-tale either, several period sources
claimed that banana peels were responsible for broken limbs, including some that re-
portedly were so badly broken that they had to be amputated. It became such an issue
in American cities that in 1909 the St. Louis city council outlawed “throwing or cast-
ing” a banana peel out in public.
19
The act of slipping on a banana had become quite routine by the time it was glamorized on the
silver screen. Billy Watson, as mentioned earlier, was the first recorded actor to use the slipping
banana as a common act, often used to open his shows. From Charlie Chaplin's film Beyond the
Sea, to Adam Sandler’s film Billy Madison, the banana gag has become a comedic staple in the
realm of fruit. In contemporary art the banana is often used as an instigator of comedic relief,
take Maurizio Cattelan’s work shown at Art Basel Miami this last December of 2019, titled Co-
median (2019) that features a locally sourced Miami banana duct-taped to a wall. This work has
rocked the art world at large as it successfully sold three almost exact versions for a total of
$120,000.00 USD each for the first two and the third at a slightly inflated rate of $150,000.00
USD. This work as funny as it is, offers both humor and a comedic prank on the art world as it
functions and references Duchamps Fountain (1917). The Banana is only to be rivaled, perhaps,
by the peach and its continuous referent to a woman’s genitalia in countless raunchy jokes and
comedy bits, such as Key and Peele’s famous “Cunnilingus Class” sketch.
This new sculpture Banana Splits (2020) is my largest stone piece, both in my thesis
exhibition and in my collection to date. Made of Bardigglio Scuro marble, the piece will sit on
the ground and weighs quite a substantial amount. This banana as a monument is made with the
Blitz, Matt. “The Origin of the ‘Slipping on a Banana Peel’ Comedy Gag.” Today I Found Out, http://www.today
19
-
ifoundout.com/index.php/2013/11/origin-slipping-banana-peel-comedy-gag/ accessed November 28, 2019?
22
intent of establishing a sense of celebrity for this beloved prop of comedy. In the words of Grou-
cho Marx, “Time flies like an arrow; fruit flies like a banana.” I think this is a very appropriate
20
relationship between the famous comedian and the famous fruit, in respect to both the artists and
the medium.
D’ s Nutz (Snake in a Can) (2020) (fig #1) is a piece made in reference to the surprise gag
toy developed by Samuel Sorenson Adams in 1915, roughly 25 years before the Groucho Marx
glasses. This gag toy was developed as a practical joke that Samuel tried to play on his wife after
she continually complained about not being able to open jam jars. Over one hundred years later,
these toys are still available in stores and across the web. Like the Groucho Marx Glasses, these
items are cheap, low-brow, and kitsch items. They exist to jest and gag friends, family, and the
occasional stranger.
My interest in this object was discovered during my research into the Groucho Marx
glasses. As I learned about humor and play, as well as their symbiotic circumstances, I became
more and more interested in the importance of the gag. Although the snake in a can toy is a high-
ly sexual item, ironically, it is most often marketed to children. As I mentioned earlier, this toy
can be perceived as symbolic of male genitalia and in line with the madcap humor, it is also in-
tertwined with a double meaning. What is based on innocent fun is also laced with an innuendo
of sexual performance as the toy grows and pops from its container. This led me to the title of the
work D’ s Nutz. The title was originally spelled “Deez Nutz” and was first commercially men-
tioned in the 1992 Dr. Dre album The Chronic. From there, the phrase was later reinvented in a
viral YouTube video, and is now a contemporary meme. It is also a popular Christmas sweater
Groucho Marx. AZQuotes.com, Wind and Fly LTD, 2020. https://www.azquotes.com/quote/518344, accessed
20
February 02, 2020.
23
text that is often accompanied by nut crackers. The idea behind this phrase has resonated with
popular culture and therefore seemed appropriate for my sculpture of a snake in a can.
24
IV . Conclusion
All in all, the creative act is not performed by the artist alone; the spectator brings the
work in contact with the external world by deciphering and interpreting its inner qualifi-
cation and thus adds his contribution to the creative act. ––Marcel Duchamp, The Cre-
ative Act, 1957
21
My work is strongly influenced by the humor and play that characterizes both
conceptual art and Pop Art of the 1960s. Many of the artists that have heavily influenced my art
and my process include, but are not limited to, artists such as John Baldessari and Andy Warhol.
Baldessari uses his witty word play and visual puns, while Andy Warhol's uses kitsch and the
popular influence of the celebrity. I am additionally influenced by Claes Oldenberg, especially
his “objects into monuments” that have an exaggerated scale to pinpoint the beauty of mundane
objects in daily life. Lastly, I am fascinated with Lynda Benglis and her liquid-like sculptures of
paint, foams, and metal. These artists helped to ignite a spark within me, as I noticed the impor-
tance of their methods and specialties. Each helped to teach me about myself as I sorted through
my own incentives and artistic pursuits.
The spectacle in my work emerges from pop culture and the popularity that items can
hold. Of course, there is also a strong vein of Pop Art present in my sculptural language as I ref-
erence similar subject matter to that of Oldenberg and Warhol. It is the mundane, everyday ob-
jects and the idea of celebrity that attract me and the way the public can empower such objects.
People are strange, funny creatures that have developed even stranger relationships with the ob-
jects they possess and protect. Unlike any other creature on earth, a human would potentially die
for an object, and many have.
Duchamp, Marcel. “The Creative Act,” talk presented in a Session on the Creative Act, Convention of the Ameri
21
-
can Federation of Arts, Houston, Texas, April 1957.
25
Pop art has many overlapping similarities with the fundamentals of kitsch. However, it is
distinguishably different. As British artist Richard Hamilton has defined it: “Pop Art is: Popular
(designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten),
Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big
business.” This pop element can and has an astounding effect of surprise. Often people do not
22
realize how special these objects are until someone shows them. As Warhol has stated: “Once
you 'got' Pop, you could never see a sign again the same way again. And once you thought Pop,
you could never see America the same way again.” There is a certain unveiling of the world
23
that pop art provides, a sensational reset to our consumer illusions. Within all of my everyday
objects lies the makings of Pop Art, whether it be the kitsch elements, the humor, the qualities of
play––they all work together. This meshing of pop elements creates a larger, more observable
object and ideas to reflect upon.
Among contemporary artists, I find myself attracted to artists such as Jim Shaw. His Wig
Museum was a particular favorite of mine. Jeff Koons has also played an important role for me
in my personal development. He, too, works with the idea of the monument and kitsch, but I ad-
mire him most for his design perfectionism. His famous balloon sculptures are a prime example
of creating larger-than-life structures out of familiar objects. Yayoi Kusama uses the innocence of
an infant to engage with color. The stylized and cartoon-like manner in which she uses foods and
seductive shapes throughout her work, are also notable for me. As mentioned before, Maurizio
Khan Academy. “Pop Art In The US,”
22
https://www.khanacademy.org/partner-content/tate/global-modernisms/global-pop/a/pop-art-in-the-us
accessed January 14, 2020.
Andy Warhol Quotes. BrainyQuote.com, BranyMedia Inc, 2020. https://www.brainyquote.com/quotes/
23
andy_warhol_109783 accessed January 14, 2020.
26
Cattelan's humorous objects and conceptual works like his Banana (Comedian) have helped
drive me to seek the humor in such a serious world. I look to these artists for inspiration and en-
couragement.
I have discussed the importance of humor and play in my work and in culture-at-large. As
a maker, I choose now more than ever to produce humorous and playful works that reject the se-
rious nature of contemporary art and the activist / social justice avenues often associated with it.
To me, those works can be powerful. However, they often perform as propaganda which is of no
interest to me. I do not believe it is my job as an artist to change the minds and wills of others.
My work is not aimed to push motives or to critique the many elements of our society, and it is
certainly not designed for a specific audience. Though my art possesses meaning behind-the-
scenes, it is not meant to convey this profundity at first glance. Art can be meaningful without
having innate "powerful" qualities. I see the overuse of this term "powerful" as an insult to art
that simply wants to exist. I do not imply that my art is completely meaningless, as my use of
pop and play may lead others to a point of purpose, or even ignite a needed personal dialogue.
Interpretation is still the viewer's right, and I very much prefer it that way.
27
Figures
Figure 1.1 D’ s Nutz, 2020, Stone marble, black epoxy on pink pedestal

Figure 1.2 Glass Is, 2014, Stone alabaster (Orange Translucent) on blue wall mount
28
Figure 1.3 Milk Shake Monday, 2016, Stone marble (Carrara) on orange table stand
Figure 1.4 Groucho Knows, 2020, Stone onyx (Persian Pink), black marble
(Sandalwood), painted wood on blue Pedestal
29
Figure 2.1 Decorator Crab: Langley, Liz. “Absolutely Crabulous: Why Some
Crabs Get Dressed Up.” See Crabs That Decorate Themselves With Style,
August 31, 2018. www.nationalgeographic.com/animals/2018/08/animals-
crabs-behavior-camouflage-defense/.
Photograph by Chris Newbert, Minden Pictures/Nat Geo image collection.

Figure 2.2 Marilyn’ s Medusa, 2018, Stone alabaster (Italian Ice) on Padauk stand
30
Figure 2.3 Bacon, 2015, Stone alabaster (Utah Raspberry), loose form
Figure 2.4 Two For One, 2019, Stone marble (Carrara), yellow calcite on red
pedestal
31
Figure 3.1 Banana Splits, 2020, Stone marble (Bardiglio Scuro) on floor 32
Bibliography
Blitz, Matt. “The Origin of the ‘Slipping on a Banana Peel’ Comedy Gag.” Today I Found Out,
November 28, 2013. http://www.todayifoundout.com/index.php/2013/11/origin-slipping-banana-
peel-comedy-gag/.
Clarence Darrow Quotes. BrainyQuote.com, BrainyMedia Inc, 2019. https://www.brainyquote.-
com/quotes/clarence_darrow_163059, accessed December 6, 2019.
Duchamp, Marcel. “The Creative Act,” talk presented in a Session on the Creative Act, Conven-
tion of the American Federation of Arts, Houston, Texas, April 1957.

Eagleton, Terry. Humor. London: Yale University Press, 2019.
Freud, Sigmund. The Joke and Its Relation to the Unconscious. Translated by Joyce Crick Lon-
don: Penguin Books Ltd, 2003.
Greenberg, Clement, Art And Culture: Critical Essays. Boston:Beacon Press, 1961.
Holm, Nicholas. Humor as Politics: The Political Aesthetics of Contemporary Comedy. Cham:
Palgrave Macmillan, 2017
Huizinga, Johan. Homo Ludens: A Study of the Play-Element in culture. Connecticut: Martino
Publishing, 2014.
Johnson, Stephen. “Every Joke Falls in One of 11 Categories, Says Founding Editor of The
Onion.” Big Think. Big Think, June 17, 2019. https://bigthink.com/stephen-johnson/every-joke-
falls-in-one-of-these-11-categories-according-to-the-founder-of-the-onion.
Krichtafovitch, Igor. Humor Theory. Translated by Anna Tonkonogui. Colorado: Outskirts Press,
Inc, 2006
Marx, Groucho. AZQuotes.com, Wind and Fly LTD, 2020. https://www.azquotes.com/quote/
518344, accessed February 02, 2020.
Marx, Groucho. Groucho and Me. New York: Da Capo Press, 1995.
Nichol, Mark. “20 Types and Forms of Humor.” Daily Writing Tips. Accessed November 28,
2019. https://www.dailywritingtips.com/20-types-and-forms-of-humor/.
Khan Academy. “Pop Art In The US.” Accessed January 14, 2020.
https://www.khanacademy.org/partner-content/tate/global-modernisms/global-pop/a/pop-art-in-
the-us
33
Elegant Wigs. “The History Of Wigs.” Accessed January 4, 2020.
https://www.elegantwigs.com/history-of-wigs.html
Art and Popular Culture. “Visual Gag.” Accessed January 14, 2020
Andy Warhol Quotes. BrainyQuote.com, BrainyMedia Inc, 2020. https://www.brainyquote.com/
quotes/andy_warhol_109783, accessed January 14, 2020.
Webber, Julie (series editor). The Joke Is On Us: Political Comedy In (Late) Neoliberal Times.
London: Lexington Books, 2019.
34

Abstract (if available)

Abstract My work in carved stone sculpture involves using varying degrees of play and types of humor. This thesis delves into the concept of how play, humor, and popular kitsch function in my sculptures and within culture at large. I introduce humor as a complex organism that reacts much like living tissue, made up of specific organs and structural elements needed to constitute its existence. I spotlight the different categories of humor which I have found inspirational and useful in my work. My earlier work highlights the cultural significance of wigs, food, drinks and other everyday objects. In discussing my more recent work I explore theories surrounding humor and play. In the conclusion I connect these varying elements of play to other commodities in popular culture that will be included in my MFA thesis exhibition. Ultimately, this thesis is aimed to provide a context for my work and to further a better understanding about my use of humor and play in sculptural objects. ❧ Disclaimer: Due to the restrictions put in place as a response to Covid-19 the figures listed in this thesis will be unavailable in the USC Library PDF copy. I refer you to www.joshbeliso.com to view the completed thesis as its author intended it, including the complete list of figures and images.

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Asset Metadata

Creator Beliso, Joshua Aaron (author)

Core Title Knock, knock, who’s there? A desire to laugh and play: a selection of sculptural works by Joshua Beliso

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Fine Arts

Publication Date 05/11/2020

Defense Date 05/07/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag art,artist,Banana,Banana Splits,beauty,comedy,consumer culture,contemporary art,D's Nutz,fine art,fluid,Food,gag,generational humor,goofy,Groucho Knows,Groucho Marx,humor,kitsch,Labor,Laughter,luxurious,marble,Milk Shake Monday,OAI-PMH Harvest,organic,Play,playfulness,political correctness,pop art,pop culture,sculptural art,Sculpture,slapstick,Stone,toy,Two For One,Vaudeville,wigs

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Moss, Karen (committee chair), Müller, Thomas (committee member), Ochoa, Ruben (committee member)

Creator Email Beliso@usc.edu,joshbelisoart@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-376873

Unique identifier UC11665934

Identifier etd-BelisoJosh-8470.pdf (filename),usctheses-c89-376873 (legacy record id)

Legacy Identifier etd-BelisoJosh-8470.pdf

Dmrecord 376873

Document Type Thesis

Rights Beliso, Joshua Aaron

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA