everyone benefits from the exchange of
verifiably accurate, richly-structured and
timely information about works of art
The panOpticon Information Management System enables provenance researchers to organize all their data around the artworks of an individual artist and make structured information available for others to discover, access, interpret, and reuse.
In addition, investigators can create primary, secondary, and supplementary metadata, as well as reports, commentaries, essays, and links to internal and external resources. The system provides ample space to keep research notes, while it automatically maintains timestamps and searchable revision histories.
you are in complete control of your catalogue.
“With access available from any place with an internet connection, the catalogue has been extremely useful in facilitating exhibitions and acquisitions as well as fostering greater collaboration amongst collectors, curators, and other researchers.”
• You subscribe to our digital platform on an annual basis.
• We host all your files in our backend – your data and assets are yours in perpetuity.
• You are in control of every aspect of your catalogue.
• If you have legacy data you want to move, we are able to convert and migrate your data to fit our database structure (at additional cost).
• The IMS is accessed online from anywhere there is an internet connection.
• Since the System resides online and is accessed through an ordinary web browser, no particular system requirements are needed.
• You are able to give and control access to others so they may work for you.
• You are able to give access to others so they may review or exchange data with you.
• If and when you feel you want one, there are a variety of website options available at additional cost.
• We will work with you to modify our product to meet the demands of a specific artist or to accommodate a particular kind of content (occasionally at extra cost).
• We will train your staff, interns, and anyone else who will be using the software in on-site and/or remote tutorials.
• You can 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.
• Our platform is operated on top of our servers (which we control), which are hosted on Amazon’s AWS Infrastructure.
• We have a server team who manages and monitors these servers with real time information about traffic and down-time.
• We have set up multiple servers providing high availability (“redundancy”) to make sure, if a server ever goes down, that your hosted catalogue stays online.
• We maintain active backups of all databases, images, and other uploaded files so your data is protected. Upon request we can restore data that was inadvertently deleted on your end and we can roll-back data at a moment’s notice.
• We are able to deploy all updates and bug-fixes to all clients as soon as they are available, automatically.
• We provide free updates to newer versions of our catalogue software for as long as you are hosted with us, which means that you receive upgraded features as they become available without paying for another license.
• We have configured our hosted catalogues to run in a secure environment, with secure servers and secure software, and regularly review and upgrade our infrastructure to increase the security and protection around each catalogue and your hosted data and uploads.
• We provide free HTTPS web server certificates for secure catalog web access for all hosted CRs, which ensures all web access to your data is done securely.
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.
In any case, let us know if you want to be on our mailing list. We won’t share your email address.
Please note: we are unable to quote prices until we’ve conferred with you about your particular needs.
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.