What Do YOU Do? Occupation and Identity

May 16 – September 6, 2025

What Do You Do? features works of art from the Zillman Art Museum’s permanent collection that evoke questions surrounding occupation and personal identity. When meeting someone new, at what point did we replace the question, “Who are you?” with “What do you do?” The cultural importance of employment is intertwined with identity, yet one’s profession does not necessarily equate with who we are and the values we hold. Whether surviving paycheck to paycheck or following our passions, who we are goes far beyond a job title. 

Who are we at work? Do we mentally step into our workplace identity as if getting dressed for the part? Outward appearance and self-expression silently communicate labels to each other and to ourselves. A uniform or other work attire may visually indicate an attachment to a specific role within an organization. Stephen Lack’s The Pass depicts two people with no distinguishing features other than their suits and ties. Might we perceive these same people differently if they were wearing something else? Does the identical dress of the men in Reginald Marsh’s etching Breadline limit our perception of these individuals?  

Sacrifices are made to ensure one’s security and sustenance. Many must travel great distances for work––as seen in Alejandro Cartagena’s Carpoolers––while others put their lives at risk to serve their country, as in Robert Capa’s Omaha Beach. Mental health is often an afterthought, despite the fact that the pressures and responsibilities of a job can be all-consuming. Raphael Soyer’s lithograph At the Mirror is representative of that inner struggle. 

In a world that values productivity more than character, it is important to look past labels to see humanity. Occupations are often associated with social class––with certain trades being less respected than others––despite their crucial contributions to society. Our human nature to categorize things can be problematic when making snap judgments towards others. Without knowing an individual’s story, there is a risk of alienating oneself from others. 

My experience as the Zillman Art Museum’s Curatorial Intern has been an eye-opening look into the behind-the-scene world of museum operations. From art cataloging and display to event planning and artist relations, the museum field is more nuanced than I had ever known. I am grateful for the multi-faceted skills this opportunity has afforded me as I carry them forward to future gallery positions. However, not wanting to be confined to an occupational label, I may also explore ski instructing and world traveling as I develop all aspects of my full identity. 

Julianna Day, Curatorial Intern 2024-2025 

  • Berenice Abbott (American, 1898 – 1991). Untitled, 1923. Gelatin silver print. Gift of the University of Maine Foundation on behalf of Miriam Colwell, 2005.3.3
  • Carroll Thayer Berry (American, 1886 – 1978). Fisherman in Camden – Maine Coast, 1960. Woodcut. Bequest of Carroll Thayer Berry, 78.92.G
  • Manuel Alvarez Bravo (Mexican, 1902 – 2002). Trabajadores del Tropico (Workers of the Tropics), 1944. Gelatin silver print. Museum purchase: Stebbins and Schildknecht Art Fund, 2003.1.2
  • Robert Capa (Hungarian, 1913 – 1954). Omaha Beach, June 6th 1944, 1944. Photograph. Museum acquisition, 78.231.M
  • Alejandro Cartagena (Dominican Republic, born 1977). Car Poolers #21, 2013. Archival inkjet print. Museum purchase, 2013.3.2
  • George Daniell (American, 1911 – 2002). Untitled Self-Portrait, 1936. Gelatin silver print. Gift of Andres A. Verzsa, 2002.14.2
  • William Gropper (American, 1897 – 1977). Fisherman, 1922. Etching. Gift of Jonathan W. Peirce, 80.56.G
  • George Grosz (American, born Germany, 1893 – 1959). Three Men, 1918. Lithograph. Gift of the Kenduskeag Fund, 56.31.G
  • Stella Johnson (American, born 1953). Both works: Gift of the artist.
    • Catching Breakfast, Orinoco, Nicaragua, 2003. Gelatin silver print. 2007.15.5
    • Shrimp Net, Orinoco, Nicaragua, 2003. Gelatin silver print. 2007.15.21
  • Stephen Lack (American, born 1946). The Pass, 1988. Monoprint. Gift of Robert Venn Carr Jr., Class of 1938, 2002.14.2
  • Reginald Marsh (American, 1898 – 1954). Both works: Gift of the Kenduskeag Fund
    • Breadline, 1932. Etching. 55.7.G
    • Star Burlesque, 1933. Etching. 55.5.G
  • Forrest Walker Orr (American, 1895 – 1972). Tuna Boat, 1920. Watercolor. Gift of Mr. and Mrs. Forrest Orr, 72.95.G
  • Lili Rethi (American, born Austria, 1894 – 1969). The Great Bridge, 1963. Lithograph. Gift of Associated American Artists, 68.19.G
  • Edmund Schildknecht (American, 1889 – 1985). Making Hay, Catskills, no date. Watercolor. Gift of the artist, 74.263.P.NA
  • Raphael Soyer (American, born Russia, 1899 – 1987). At the Mirror, 1924. Lithograph. Gift of the Associated American Artists, 59.51.G
  • Andy Warhol (American, 1928 – 1987). Unidentified Man, 1970-1983. Gelatin silver print. Gift of the Andy Warhol Foundation for the Visual Arts, 2008.5.114
  • Hamilton Achille Wolf (American, 1883 – 1967). The Tailor, 1908. Oil on canvas. Gift of Mr. Hamilton Wolf and Mr. Herbert Chase, 61.63.G
  • Grant Wood (American, 1892 – 1942). Honorary Degree, 1937. Lithograph. Gift of the Kenduskeag Fund, 61.47.G