It might appear initially that the diverse fields of ceramics and tourism do not have much in common. However, printed pictorial ceramic objects have been widely available since the 1860s as touristic souvenirs. The relationships between art and tourism, however, have been explicitly examined by only a few tourism researchers. This paper critically examines how tourism research can actively and innovatively inform artistic practices. It thus explores the relationships between the production of ceramic art work, souvenirs, photography and tourism. In so doing it challenges the conventional opposition between art and souvenirs through the integration of popular tourism imagery and the distortion of souvenir shapes
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