Andreae, Janice

Other Names: Janice Lee Durrant Andreae

Janice Andreae has been a practicing visual artist, writer, and art critic for
nearly 50 years.

Biography Additional Media: 'Edgework' Additional Media: Writings

Janice Andreae’s reviews, essays, and bookworks have appeared in Canadian Art, Fuse,
C Magazine, Tessera, Resources for Feminist Research, Canadian Woman Studies, Parachute, Mix, Matriart, Arts Atlantic, Artscanada and Artmagazine. In addition to exhibition catalogues and literary anthologies, a longer essay, “Dashing Expectations: Textual Interventions, Visual and Representational Strategies” appeared in Open Letter (2011). That text drew on the work of artists from London, Ontario, whose practice continues to inspire her own. A former member of the Editorial Board and Board of Directors of Fuse, she began writing about contemporary art practices nearly five decades ago.

In 1994, Andreae curated “Beyond Mythmaking: (Re)viewing the Work of Bernice Vincent,” a ground-breaking retrospective at the London Regional Art and Historical Museums (now Museum London), and co-edited Feminism and Visual Art/Le feminisme et l’art visuel, a special issue for Canadian Woman Studies with Marilyn Burgess in 1990. Her writing has been cited in many exhibition catalogues and texts by or about contemporary visual artists in Canada. She notes with appreciation recognition by art critic and curator Philip Monk, in Paterson Ewen: Phenomena from 1988: “For the change in Ewen’s direction, see Janice Andreae’s essay, ‘Paterson Ewen: Painting Image and Allegory’ (Parachute 28, 1982, p.22-28).” A letter dated “Montreal, 20 September 1999” from Françoise Sullivan about Andreae’s article “Launching the Body: Françoise Sullivan and Refus Global” (Matriart 7:4/8:1, 1999, p.8-13) is carefully tucked away.

Through many years of critical writing, Andreae has considered the roles feminism and feminist theory have played in the work of women artists. She notes, just as the roles of women artists and women involved in the London visual arts community changed, the way we understand such presence and its meaning has changed. She often addresses different explanations of the struggle of women artists to produce work, and likewise, problems of writing critically using feminist and queer perspectives.

In London, the groundwork for her career was laid, and Andreae carried on as work and life grew more complicated and opportunities emerged in Toronto. The possibility of writing about the art scene in London came up one afternoon in early summer at the Andreae farm located just outside the city, her home at the time. She found curator Maurice Stubbs sitting at the picnic table drinking tea with her mother-in-law, Shirley Andreae. She knew Stubbs well from reviewing shows at McIntosh Gallery the previous year and exhibiting artwork there at the end of her graduating year. He explained that critic Lenore Crawford wanted to connect because she was about to retire and was concerned about continuity with her readers and the London artists whose commitment she so admired. Within a month, Andreae was writing reviews for the Free Press.

Biography Courtesy of Janice Andreae

WORKS REFERENCED

Andreae, Janice. “Dashing Expectations: Textual Interventions, Visual and Representational Strategies.” Open Letter: A Canadian Journal of Writing and Theory 14, no.6 (2011): 93-107.

Andreae, Janice. “Launching the Body: Francoise Sullivan and Refus Global.” Matriart 7, no.4 / 8, no.1 (1999): 8-13.

Andreae, Janice. “Paterson Ewen: Painting Image and Allegory.” Parachute 28 (1982): 22-28.

Feminism and Visual Art / Le féminisme et l’art visual, Canadian Woman Studies 11, no. 1 (1990).

Monk, Philip, and Patterson Ewen. Paterson Ewen: Phenomena: Paintings 1971-1987.
Toronto, Ontario. Art Gallery of Ontario, 1987.

Janice Andreae
“Edgework: Sites of Critical Exchange” (2009)
Barbara Godard Collection, YorkSpace, York University Libraries, York University.

“Edgework” brings together three works by Janice Andreae:
Precipice (1991), a mixed-media installation, a later version of which was Epitaph (1992);
and lesbian leaves (1999-2001).
Click here to read Janice Andeae’s artist statement for “Edgework.”

Andreae, Janice. “Epitaph.” Feminist(s) Project(s)/Projets (des) feminists, Tessera 15 (1993): 83-89.
Click here to view this article by Janice Andreae from the Tessera website.

Janice Andreae
lesbian leaves 1999 – 2001
Installation
(Barbara Godard Collection, YorkSpace, York University Libraries, York University)
Photo: Emily Andreae

lesbian leaves is an installation of two images projected and juxtaposed one to another; one, is text using Times New Roman font, and the other is an image of the sequential frames of two women dancing borrowed from an 1887 portfolio of the Victorian British photographer Eadweard Muybridge, called Two women dancing a waltz, published in the Prospectus and Catalogue of Plates in his text Animal Locomotion (1887). ~ Janice Andreae
Barbara Godard Collection, YorkSpace, York University Libraries, York University.
Photo: Emily Andreae

The elements of the installation lesbian leaves can be seen together in:
Andreae, Janice. “lesbian leaves.” Lesbian Creations/Creations lesbiennes, Tessera 30 (2001): 32-33.
Click here to view this work by Janice Andreae from the Tessera website.

Precipice (Installation Images)
Shown on display as part of the exhibition Political Landscapes #Two: SACRED AND SECULAR SITES, an exhibition of work by thirteen artists from two communities.
Curated by Blake Debassige and Stephen Hogbin.
Tom Thomson Memorial Art Gallery, Owen Sound, Ontario, August 23 to September 22, 1991
Ojibway Cultural Foundation and Kasheese Studio, West Bay, Manitoulin Island, Ontario, September 27 to October 20, 1991.
Photo: Emily Andreae
Courtesy of Janice Andreae

© Janice Andreae, 2021

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Janice Andreae has been writing about the visual arts for nearly 50 years, since becoming an art critic for the London Free Press upon the retirement of Lenore Crawford (1909-1983).

The list of articles and texts below have been curated by Janice Andreae as a representation of her body of work thus far.

Andreae, Janice. “In This Room: Vision and Betrayal.” Feminism and Visual Art / Le féminisme et l’art visual, Canadian Woman Studies 11, no.1 (1990): 80.
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Andreae”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice. “Epitaph.” Feminist(s) Project(s)/Projets (des) feminists, Tessera 15 (1993): 83-89.
Click here to view this article by Janice Andreae from the Tessera website.

Andreae, Janice. “urban desire(s).” Lesbians and Politics, Canadian Woman Studies 16, no.2 (1996): 42-45.
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Andreae”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice. “lesbian leaves.” Lesbian Creations/Creations lesbiennes, Tessera 30 (2001): 32-33.
Click here to view this work by Janice Andreae from the Tessera website.

Andreae, Janice. “Dashing Expectations: Textual Interventions, Visual and Representational Strategies.” Open Letter: A Canadian Journal of Writing and Theory 14, no.6 (2011): 93-107.

Andreae, Janice. “conversations while walking”:
Megan Elisabeth Bice, December 16, 1949 – June 6, 2019.
Words written for Megan Bice on June 12, 2019 to celebrate her life at the Church of St. John the Evangelist, London, Ontario on June 14, 2019.
Courtesy of Janice Andreae.
Click here to view this text by Janice Andreae.

Andreae, Janice. “WACK! Art and the Feminist Revolution and Global Feminisms: New Directions in Contemporary Art.” Resources for Feminist Research 33, no.3/4 (2010): 192-195. (Essay on the exhibitions “Global Feminisms: New Directions in Contemporary Art” and “WACK! Art and the Feminist Revolution,” featuring the works of Rebecca Belmore, Suzy Lake, Lisa Steele, and Colette Whiten; Vera Frenkel, Jamelie Hassan, Jana Sterbak, Nina Levitt, Geneviève Cadieux, and Nicole Jolicoeur).

Andreae, Janice. “Women Between: Construction of Self in the Work of Sharon Butala,
Aganetha Dyck, Mary Meigs, Mary Pratt.” Women and Cancer, Canadian Woman Studies 28 no.2-3 (2010): 178-179. (Review of the book Women Between: Construction of Self in the Work of Sharon Butala, Aganetha Dyck, Mary Meigs, and Mary Pratt, by Verna Reid).
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Andreae”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice and Emily Andreae.“ ‘Designing Women’: Gender and the Architectural Profession.” Resources for Feminist Research 29, no.1/2 (2002): 147-150.
(Review of the book ‘Designing Women’: Gender and the Architectural Profession, by Annmarie Adams and Peta Tancred).

Andreae, Janice. “A Personal Calligraphy.” Women and HIV / AIDS, Canadian Woman Studies 21, no.2 (2001); 148-149.
(Review of the book A Personal Calligraphy, by Mary Pratt).
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Andreae”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice. “Sandra Rechico.” Parachute 96 (1999): 84-85.
(Art Review)

Andreae, Janice. “Still Struggling: Making the Visual Arts Process Different.” Gender Equity and Institutional Change, Canadian Woman Studies 12, no.3 (1992): 93-94.
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Andreae”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice. “Colette Whiten.” Parachute 67 (1992): 40-41.

Burgess, Marilyn and Janice Andreae. “Introduction.” Canadian Woman Studies 11, no.1 (1990): 5-6.
Click here to view this article by Janice Andreae on the Canadian Woman Studies website.
If the article does not appear, double-click the author’s name over the reading frame
(“> Burgess”).
Please note that this link may work better with web browsers other than Mozilla Firefox.
If your web browser does not have a PDF reader plug-in, click here to download the article from the Canadian Woman Studies website.

Andreae, Janice. “Joanne Tod.” Parachute 52 (1988): 62.

Andreae, Janice. “Jana Sterbak.” Parachute 49 (1987): 39-40.

Andreae, Janice. “Sue Boone’s paintings on view: Artist examines ‘metamorphosis’ of woman.” The London Free Press, February 16, 1976. (Article about the work of Susan Boone)

Andreae, Janice. “Tradition and conflict mark artist’s work.” Western Gazette, February 15, 1974. (Article about the work of Jamelie Hassan)