panOpticon was founded to meet the needs of artist estates & foundations, galleries, museums, archives, researchers, scholars and artists who are looking for tools to manage and publish provenance research.
The design challenge for panOpticon is not simply to control the self-organizing processes, as some tools attempt to do, but to facilitate the emergence of higher-level outcomes e.g., more coherent understanding, accountability, access control, communication, and the exchange and distribution of usable data, metadata, information and knowledge.
Reliable information about artworks and their histories may be published, it can be used to create educational resources and interactive displays, it is indispensable when organizing exhibitions, it is of great help to working artists who are promoting themselves, and it is an essential ingredient in the production of an authoritative catalogue raisonné.
Leverage data as soon as they are usable — usability means traceable chains of evidence.
“It is our intention not only to provide an historical record of Sam Francis’s artworks, but also to embrace his creative and innovative spirit by offering a catalogue that can evolve and change as research continues to develop.”
read about panOpticon in ARTnews
Starting a project? Already have data and wondering what to do next? Simply have a question? Contact us.
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.
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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); Sam Francis (1923–94) in front of Turquoise and Pink at Galerie Nina Dausset, Paris, 1952; Arshile Gorky (1904-48), Study for Mother and Son, c. 1936. Whitney Museum of American Art: Purchased with funds from The Lauder Foundation, Evelyn and Leonard Lauder Fund and the Drawing Committee (99.49a-b) © Artist’s estate; 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.