R. J. Kern’s The Unchosen Ones (started in 2016 and revisited in 2020) portrays young exhibitors who spent months raising and preparing livestock for county fair competitions in Minnesota, only to leave without awards. By documenting them in meticulously composed portraits, Kern highlights the universal experience of not being chosen, a theme that resonates deeply across various aspects of life.
County fairs and 4-H programs hold significant cultural and social value in rural America, serving as institutions that shape agricultural traditions and youth development. The project reflects on broader themes such as the decline of the family farm, the ethics of breeding, and the human-animal bond. Through these elements, Kern’s work captures a disappearing way of life while fostering empathy for those who experience rejection in any aspect of life, whether in careers, relationships, or personal ambitions.
Kern’s artistic vision extends beyond mere documentation; his photographs are meditative explorations of identity, resilience, and rural American values. Inspired by European landscape paintings and historical photographic traditions, his work bridges classical and contemporary aesthetics. The images evoke a sense of pastoral nostalgia, yet they are firmly situated within the present, emphasizing the tension between tradition and modernity.
Visually, Kern’s portraits are formal, composed with a direct, frontal perspective that encourages comparison among subjects. Blending natural and artificial light, he highlights the dignity of his young subjects, setting them against a neutral backdrop that enhances their presence. The color palette balances muted rural tones with subtle color highlights, creating a painterly aesthetic. When R. J. Kern revisited his subjects in 2020, he embraced environmental portraiture, incorporating more of the landscape to contextualize each image. This approach expanded the frame, revealing both the carefully staged elements and the raw authenticity of farm life.
Since 2017 the series has earned wide recognition—Taylor Wessing finalist (2017), CENTER Choice Awards—Curator’s Choice First Prize (2017), RPS IPE 160 Silver (2017), PDN 30 (2018), Photolucida Critical Mass Top 50 (2018, 2021), and Communication Arts Awards of Excellence (2018, 2021). Exhibited at the National Portrait Gallery (London), Griffin Museum of Photography, Plains Art Museum, The FENCE (2017), Yixian International Photo Festival (Anhui), and MoMA Tbilisi, with works entering the Museum of Fine Arts, Houston and Minneapolis Institute of Art.
