MUNTHE ART MONDAY ELISABETH JOHS

Please introduce yourself and tell us about what you do.

I am founder of director of JO-HS gallery located in NYC and Mexico City.

Elisabeth is wearing Famke Jacket and Fancie pants.

Could you explain more about how being a woman has affected your career?

Being a woman in the art world has shaped my career in both subtle and significant ways. At times, it has meant having to advocate more fiercely for my work to be seen and taken seriously, especially in spaces where male perspectives have historically dominated. But it has also given me a unique lens through which I experience, interpret, and curate art.

Running my gallery, I've often found myself drawn to underrepresented voices—particularly those of women and marginalized communities—because I understand what it feels like to push against the current. That awareness fuels my commitment to building an inclusive, intentional space where diverse stories are not just shown, but celebrated.

Of course, there have been challenges, but they've also made me more resilient and more connected to a network of incredible women in the arts who constantly inspire and uplift each other. Ultimately, being a woman isn’t just one aspect of my identity—it’s been a driving force in shaping the values and vision behind my gallery.

Elisabeth is wearing Famke Jacket and Fancie pants.

What has been the most challenging aspect of being a woman in the arts?

One of the most challenging aspects has been navigating spaces where my voice or vision wasn’t immediately taken seriously - or where I had to work twice as hard to be seen, not as a “woman in the arts,” but simply as an artist or curator in my own right. There have been moments where assumptions were made about what kind of work I “should” be making or supporting, just based on my gender.

There’s also the quiet, persistent challenge of visibility—of being heard in conversations that have historically excluded women.

And honestly, one of the hardest parts can be the inner work—unpicking internalized limitations, learning to take up space unapologetically, and trusting that my perspective is enough.

Can you name some other female (artist) that inspires you and explain why they do so?

Katarina Janečková, Melissa Rios, Floria Gonzalez are three artists I feel challenge contemporary female painting today.

What would you like people to notice in your artwork?

I want people to feel something first—before they even try to "understand" it. Whether it's curiosity, comfort, tension, or even discomfort, I want the work and the space to stir something inside them. My gallery isn’t just about aesthetics or trends; it’s about presence. It’s about creating a space where people can slow down, look closely, and maybe even see something in themselves reflected back.

I also hope they notice the intentionality behind every piece—how it was chosen, how it’s placed, and the stories it carries. The gallery is a living dialogue between artist, viewer, and space. Nothing is random. Every corner is considered, and every artist I work with brings something honest and necessary to the conversation.

Elisabeth is wearing Famke Jacket and Fancie pants.