panOpticon makes it possible
to research, process, and deliver reliable information
about works of art and their histories
our innovative information system is
organized around the artworks of an individual artist
Reliable, up-to-date information about an artist’s work can be shared with others, it can be published, it can be employed in creating teaching tools and interactive museum displays, it can be of critical help in organizing exhibitions, it can be used by working artists to promote themselves, and it is vital to the production of an authoritative catalogue raisonné.
panOpticon helps you put your data to work
- The panOpticon Information System resides on our cloud-based platform.
- We license our system and services on an annual basis.
- All your content is yours.
- Our system can be accessed wherever there is an Internet connection, through any common browser.
- The software is password protected with different levels of access for additional users that are entirely under your control.
- If you come to us with legacy data, we can convert and migrate yours to fit our database structure. We convert most data formats. You lose nothing in the process.
- There is an extra, one-time-only charge for data migration, which is determined after analysis.
- We will train your staff, interns, and anyone else who will be using the software in on-site and/or remote tutorials.
- Call for assistance during regular business hours, or get support via email. Apart from whatever support you need from us, there’s no need for IT involvement—it’s an entirely do-it-yourself enterprise!
- If and when you are ready, your designer can use your data for print, or we can help you take advantage of your content to create a website (at additional cost).
Starting a new project? Already have data and wondering what to do next? Simply have a question? Email us at email@example.com
The best way to fully grasp what our product can do is to see it in action. Fill out a form to request a demonstration. We can come to you if you are in New York City. If not, we can demonstrate our software online. We’ll show it to you wherever you are.
Top: from left to right in descending order: Paul Cézanne (1839–1906) Still Life with Apples 1895-98, The Museum of Modern Art: Lillie P. Bliss Collection (22.1934); László Moholy-Nagy (1895–1946) Head (Lucia Moholy), c. 1926 The Museum of Modern Art: Anonymous gift (505.1939). © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn; Kay Sage (1898–1963) The Great Impossible 1961, The Museum of Modern Art: Kay Sage Tanguy Bequest (1132.1964); Peter Campus (1937– ), video installation created 1975, acquired 1993 SFMOMA: Accessions Committee Fund: gift of Barbara Bass Bakar, Doris and Donald Fisher, Pam and Dick Kramlich, Leanne B. Roberts, and Norah and Norman Stone. © Peter Campus; Eugen Schönebeck (1936– ), Untitled, pen and tusche on paper, 1962. Photo courtesy Galerie Judin, Berlin; Larry Bell (1939– ) Standing Walls (detail, from 6 X 6 an improvisation). Photo © Alex Marks, courtesy The Chinati Foundation, Marfa, TX; Fitz Henry Lane (1804–65) Lighthouse at Camden, Maine 1851. Yale University Art Gallery, New Haven, Conn., Gift of the Teresa and H. John Heinz III Foundation (1992.122.1). Photo: Yale University Art Gallery; Roy Lichtenstein (1923–97) Girl with Ball, 1961. The Museum of Modern Art: Gift of Philip Johnson. (421.1981); John Singer Sargent (1856–1925) The Daughters of Edward Darley Boit, 1882. Museum of Fine Arts, Boston: Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florence D. Boit in memory of their father, Edward Darley Boit. Photo: Museum of Fine Arts, Boston.