Over the course of the last seven years, Irish photographer Richard Mosse has photographed postwar ruins in the former Yugoslavia, cities devastated by earthquake in Iran, Pakistan, and Haiti, the occupied palaces of Saddam Hussein, airport emergency training simulators, the rusting wreckage of remote air disasters, nomadic rebels in the Congolese jungle, and more. Reading through his catalog of subject matter, one could easily assume that Mosse is an inveterate photojournalist in the most traditional sense, chasing hard facts in order to illustrate breaking news. Yet through his work—generally photographed in large format and presented large scale, with a penchant for the staggering, the allusive, the historical, and the Sublime—Mosse is revealed as a practitioner intent on challenging the orthodoxies of documentary photography, in particular the contexts, imperatives, and “responsibilities” that are often both assumed by and imposed upon the documentary genre, and indeed upon the photographic medium as a whole. (Aaron Schuman)