One of the consolations of struggling with large format photography is that a narrative of  art that had been objectively stated in the history of art,  had come to an end. We large format photographers  now live in an art world defined by the internet -- art objects are created with a consciousness of these networks within which it exists  from conception and production to dissemination and reception. Internet art defies the conventional art museum/gallery model that has dominated the art world  for so long. Though photographers continue to exhibit their work in galleries,  screens like computers, iPads  and smartphones are now the primary mode by which contemporary art is seen.

Art history is generally thought of as a linear progression of one movement or style after another (Romanticism, Realism, Impressionism, Post-Impressionism, Cubism, Surrealism,  Abstract Expressionism  etc.), punctuated by the influence of individual geniuses (Delacroix, Courbet, Monet, Cézanne, Manet, Picasso,  Pollock  etc … ). Our perception of art was based on a linear, historical progression of one stylistic approach after another. This is a narrative  (a certain linear development ) as distinct from  a chronicle (x happens, then y happens, then z, and so on).

The above art historical narrative  is over  in that  a developmental sequence of events in art historical development has come to an end. This end, roughly  marks the shift between modernist and contemporary art,  and the emergence of an awareness that art can  be made of anything.  That means there is no single meta narrative for the future of art. This liberates a large format photography of nature presented on the internet from its disenfranchisement by the curation in the conventional art museum/gallery model, which is primarily  concerned with the core question of defining what art is.  Historically,  large  format photography of nature was  excluded by the curators in the art institution.  

In his “The End of Art” essay in his After The End of Art: Contemporary Art and the Pale of History (Princeton, NJ: Princeton University Press, 1997)  Arthur Danto writes  in relation to the end of art history: 

"Of course, there will go on being art-making. But art-makers, living in what I like to call the post-historical period of art, will bring into existence works which lack the historical importance or meaning we have for a long time come to expect […] The story comes to an end, but not the characters, who live on, happily ever after doing whatever they do in their post-narrational insignificance […] The age of pluralism is upon us…when one direction is as good as another."

For Danto a post-historical art world means that firstly,  art’s ascent to self-knowledge has reached its limit in the sense that Warhol’s Brillo Boxes represented the end of art’s ability to define itself, and so  this task of defining art then being handed to philosophy.  Secondly, the continuing artistic activities do not establish a new progressive development informing another “master narrative”. In particular, artists  are no longer guided by the assumption that there is a ‘historically correct direction’.   

In Danto's words we know we live in a post historical era: the end of art's history means, simply, that since art can no longer develop, now all things are possible. Any artist could work in any medium, there was no longer a consistent aesthetic trend connecting contemporary art forms, anything could be considered art, even a urinal or a box of soap, and the  free artistic forms and a correspondingly liberated art world do not adhere to the norms of technical progress or regulated gallery culture. Though artists are no longer committed to any collective art historical projects, nor to any particular style, their artistic activity might still be guided by personal convictions and  individual style.  So spaces open up for  diverse approaches to large   format photographies of nature.

In a  post-historical, pluralist  art world the internet, despite its  copy-cat  culture,  is still a disruption to the  curation of  the conventional art museum/gallery model. It is on the internet that see how  art is produced by antagonisms in the fractious and broken off process of realizing social freedom in a society that is not rationally ordered. Art’s reaching the end of its narrative causes a change in art itself; namely in what it means to produce art-works, and in what options are open to the artist in doing so.