<?xml version="1.0" encoding="UTF-8" standalone="yes"?>

		<rss version="2.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/">
		
		<channel>
		
			<title>Demos Project : Knowledge and Inspiration</title>
			
			<link>http://www.demos.co.uk/projects/knowledgeandinspiration/</link>
			<language>en-us</language>
			<copyright>Copyright 2008</copyright>
			<pubDate>Sat, 11 Oct 2008 01:53:22 -0100</pubDate>
						
			<description>Latest items from Knowledge and Inspiration on http://www.demos.co.uk/ - the thinktank for everyday democracy</description>
			

			
			<lastBuildDate>Sat, 11 Oct 2008 01:53:22 -0100</lastBuildDate>


			
		
		
		
		
	
	<item>
		<title>MoMA and Tate Modern</title>
		<link>http://www.demos.co.uk/items/8003</link>
		<description><![CDATA[One of the most commonly heard criticisms of Tate Modern is the paucity of its collection in comparison with other major museums.&amp;nbsp; This article in the New York Times makes for interesting reading, arguing that the collection has encouraged more creative curation down at Bankside.&amp;nbsp;   There are also some interesting comments about the participatory nature of the Unilever commissions.&amp;nbsp; One of the big points to be made about, say, Olafur Eliasson&amp;apos;s Weather Project, or Rachel... ( from BlogPosts )]]></description>
		<guid isPermaLink="false">http://www.demos.co.uk/items/8003</guid>
		<content:encoded>
		
			<![CDATA[One of the most commonly heard criticisms of <a href="http://www.tate.org.uk/modern/">Tate Modern</a> is the paucity of its collection in comparison with other major museums.&nbsp; <a href="http://www.nytimes.com/2006/11/01/arts/design/01tate.html?ei=5088&amp;en=93bb317dd36f453a&amp;ex=1320037200&amp;partner=rssnyt&amp;emc=rss&amp;pagewanted=print">This article</a> in the New York Times makes for interesting reading, arguing that the collection has encouraged more creative curation down at Bankside.&nbsp; <br /> <br /> There are also some interesting comments about the participatory nature of the <a href="http://arts.guardian.co.uk/gallery/0,,1588934,00.html">Unilever commissions</a>.&nbsp; One of the big points to be made about, say, <a href="http://www.olafureliasson.net/index.html">Olafur Eliasson'</a>s Weather Project, or <a href="http://www.tate.org.uk/modern/exhibitions/whiteread/default.shtm">Rachel Whiteread's Embankment,</a> is that they are shaped largely by the way that people engage with them.&nbsp; That's great to see in a major commission.]]>
		
		</content:encoded>
		<pubDate>Thu, 02 Nov 2006 10:28:34 -0100</pubDate>
		<author>samuel[dot]jones@demos[dot]co[dot]uk ( Sam Jones )</author>
		
		
		
	</item>
	
	 	
	</channel>	 	
</rss>