panOpticon enables researchers to
archive, process, and manage all the data needed to produce
reliable information about works of art and their histories
Verifiably accurate information is necessary to valuate a work of art in the marketplace and to maintain and protect an artist’s legacy.
Reliable, up-to-date information can also be shared with other researchers, it can be published in print or online, 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 artists to promote themselves, and it can be used to produce an authoritative catalogue raisonné.
Our innovative information management system follows cataloging best practices — it utilizes uniform data standards, it automatically formats and styles information, it uses controlled vocabularies whenever possible, and it lets you manage all the necessary relationships yourself. Simply put — our system puts your data to work for you.
Using panOpticon’s system has made our documentation and research immensely organized and extremely useful on a daily basis due to its layered search and linking capabilities. The ease with which we can input the data, upload images, create lists and notes as part of our daily research has allowed us to expand our archival database in so many ways. We are looking forward to launching the information online, another incredible aspect of the system that we are so excited about. Not only is the system intuitive and easy to access and learn, the staff at panOpticon are always willing to tweak the categories and develop ways for us to input data to fit our specific needs. And, if there are ever any questions they are so proficient and quick in their responses and assistance. It is a dream tool—perfect for the intensive amount of information one must organize in compiling catalogues. We highly recommend panOpticon and their team.
Executive Director / President, Sam Francis Foundation
Sam Francis Catalogue Raisonné
Starting a new project? Already have data and wondering what to do next? Simply have a question? Email us at firstname.lastname@example.org
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.