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 visual practice. A former member of the editorial board and board of directors of Fuse: Art, Media, Politics, she began writing art criticism in 1974 for the London Free Press, a major daily newspaper in southwestern Ontario.
Her current interests are contemporary literary and visual textual practices, informed by feminist and queer theoretical perspectives. A body of visual work, Edgework: Sites of Critical Exchange, was curated by Elena Basile and Cheryl Sourkes for Inspiring Collaborations and included in the Barbara Godard Collection at York University in 2009. Janice curated Beyond Mythmaking: (Re)viewing the Work of Bernice Vincent, a major retrospective at the London Regional Art and Historical Museums in 1994 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 remains in close contact with artist friends and colleagues in London, where many members of her extended family still reside.
She received her PhD from York University in 2020. The title of her dissertation is Reading Material: Literary, Picturing, and Representational Strategies in the Work of Carol Laing, Sue Lloyd, Andy Fabo, Sharon Switzer, Jane Buyers, and Allyson Clay.