the reasoned catalogue comes of age

.
#panopticoncr
.

our platform enables you to document data
around the artwork of an individual artist
..and release reliable information
for others 
to discover and reuse

.
As soon as they are ready to release, usable data may be published, they can be put to work in curating exhibitions, they play a vital role in promoting a less widely-known or overlooked artist, they can be employed to create teaching tools and interactive displays, and they are indispensable to the production of an authoritative catalogue raisonné.

Reliable data about works of art are needed every day for —

appraisals
art experts and the courts
art insurance
auction sales
authority to sell (title)
bankruptcy, creditors’ rights, and security interests in works of art
catalogues raisonnés
collateralization of art
consignment agreements
copyrights in works of art and reproductions of works of art
cultural patrimony laws
curating exhibitions
customs service regulations concerning the import and export of art
defamation concerning works of art and their provenance
divorce and other family disputes
droit moral and the Visual Artists Rights Act
exhibition agreements
donor restrictions on use or display of donated works
import and export of art
International cultural treaties
Internet sites concerning art and art sales
investment management and financial planning
joint ownership of works of art
legal disputes over responsibility and ownership
loans for art buyers and dealers
loans and gifts of artwork to museums and cultural institutions
looted and confiscated works of art from the Nazi era
lost and stolen works of art
misappropriation of artwork and design
monographs
Native American Graves Protection and Repatriation Act
private dealer sales
Presidential Commission on Holocaust Assets in the US
valuating works of art

what makes data useable?

.
.

.

check out these online catalogues powered by our innovative management system –

Paul Cézanne

Edwin Dickinson

John F. Folinsbee

Fitz Henry Lane

Philippe Smit

Tom Thomson

Joaquín Torres-García

Jack Tworkov

___________

 

read about panOpticon in ARTnews and The New York Times

follow us on Instagram

 

Top of page 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.

Below from left to right: Paul Cézanne. The Garden at Les Lauves, c.1906, The Phillips Collection: Acquired 1955; Paul Cézanne. Self-Portrait, 1878–1880, The Phillips Collection: Acquired 1928; Paul Cézanne. Fields at Bellevue, 1892–95, The Phillips Collection: Acquired 1940.