Lisa is responsible for the overall direction, management, quality and activities of UTS Shopfront - Australia’s longest running, cross-faculty community engagement program. She also supervises and manages a range of research and community-based projects through student coursework projects and internships.
Lisa was a founding staff member of Shopfront in 1996, but has also worked in and researched extensively in the creative and cultural industries including as Research Manager at the national industry development program, Creative Industries Innovation Centre, as Senior Researcher on the Australian Research Council’s CAMRA cultural mapping in regional Australia project, and as Manager of the Empty Spaces Project that facilitated ‘meanwhile’ creative and community uses for empty shops and buildings in Australia.
Her books include Creative Business in Australia (UTS ePress 2015), All Culture is Local (UTS ePress, 2013) and Making Meaning, Making Money: directions for arts and cultural industries in The Creative Age (Cambridge Scholars Press 2008).
In 2014 Lisa received a National Citation for Outstanding Contribution to Student Learning, and in 2005 she was co-winner of a National Award for University Teaching for the ‘provision of education services to the community’. In 2016 she was co-winner, with the Shopfront team, of the UTS Vice Chancellor’s Social Justice/Human Rights Award.
As the largest ever Australian government investment in creative industries development, the Creative Industries Innovation Centre delivered tailored business services to more than 1500 creative businesses from 2009 to 2015 and provided industry intelligence and advice for public policy and peak sectoral activity.
This collection gives an overview of the current 'state of business' in Australia's creative industries – both as an industry sector in its own right and as an enabling sector and skills set for other industries – and reflects on business needs, creative industries policy and support services for the sector.
With contributions from the Centre's team of senior business advisers and from leading Australian researchers who worked closely with the Centre –including experts on design-led innovation and the creative economy – and case studies of leading Australia creative businesses, the book is intended as and industry-relevant contribution to business development and public policy.
Gibson, C, Brennan-Horley, C, Warren, A, Boaden, S & Andersen, L 2013, All culture is local: Good practice in regional cultural mapping and planning from local government, UTS ePress, Sydney.View/Download from: UTS OPUS
Throsby, D, Oakley, K, Gibson, C, Bamford, A, Mulligan, M & Brown, P 2008, Making Meaning, Making Money: Directions for the Arts and Cultural Industries in the Creative Age, Cambridge Scholars Publishing.
The arts have rarely been at the heart of so many policy discussions in so many places at once.
All over the world politicians and artists have been making a strong case for the social and commercial value of culture. It is found in debates about education, industrial policy, criminal justice and community wellbeing. As creative industries, it is part of international competitiveness and the future of our cities and towns, from Shanghai to Sheffield to Shepparton.
Many practitioners and advocates have welcomed culture's new prominence in policy discourse and the new markets it offers for cultural production. Others, however, see a danger that instrumental justifications for cultural funding risk overlooking the intrinsic qualities of culture, reducing it to an input and blunting any radical edges.
This book asks: are we are at a new moment for cultural policy? Leading international thinkers from countries including Australia, Britain and the United States provide a timely overview of these issues, debating and discussing the directions that cultural policy should take in the future.
Making Meaning, Making Money will be of value to artists, policy makers, cultural managers and planners who are involved in the practices, processes and decision making that constitute contemporary cultural industries and shape emerging cultural economies.
Contributors Include: Anne Bamford, John C. Barsness, Pamille Berg (AO), Eva Cox, Paul Brown, Chris Gibson, Cathy Henkel, Christopher Madden, Deborah Mills, Tony Moore, Martin Mulligan, Jeremy Sim and David Throsby.
Nikolova, N & Andersen, L 2017, 'Creating Shared Value Through Service-Learning in Management Education', Journal of Management Education, vol. 41, no. 5, pp. 750-780.View/Download from: UTS OPUS or Publisher's site
© 2017, © The Author(s) 2017. Service-learning has gained strong interest among educators as a model of experiential education through community engagement. Its potential to contribute to multiple stakeholders, including students, community partners, faculty, and university, is well recognized. While research has focused on elements of this teaching model that contribute to the realization of student-related benefits, there has been less emphasis on what aspects enable the creation of shared value to other stakeholders. We describe a postgraduate, elective management consulting course based on service-learning pedagogy, which has been running for 10 years at the University of Technology Sydney Business School leading to the completion of 75 community projects to date, and evaluate how it creates shared value to multiple stakeholders. We identify four main elements of the course that enable it to deliver value to multiple stakeholders: a dedicated role of client engagement coordinator, a coaching program involving industry experts, student autonomy, and authentic assessments. The main challenges in continuously providing value to all involved parties are developing focused and realistic project briefs, managing students' commitment and differences in students' skills, and recruiting industry coaches.
This article examines cultural industries in Broken Hill - the iconic 'Silver City' of Australian mining in far western NSWand comes from research funded by arts and regional development agencies during 2006 and 2007. In interviewing and surveying the 'movers and makers' of the local cultural sector a picture emerged of a successful group of mainly informally qualified professional visual artists and crafts people working from home studios who spend more time on their practice and make more money than their metropolitan counterparts. Broken Hill also has a thriving service sector, fine weather and competitive location infrastructure for screen industries, and a community proud of its 'arid artists' and its historical and international reputation as a film set. Artists enjoy the lower-than-city costs of accommodation, the quality of light, their proximity to 'Outback' and industrial landscapes, and sustainable local and seasonal tourist markets. With a focus on richly coloured landscape painting and traditional crafts and some contempt for the city 'art mafia', there is limited diversity of cultural products and a 'half-Sydney' market ceiling price on local sales. The Indigenous arts sector has a low profile and is surprisinglygiven high numbers of international touristsunderdeveloped. The arts community is fragmented by divisions that both reflect the male-dominated, rugged independence and 'us and them' heritage of this desert mining and 'union town' and inhibit cooperative development. Remoteness means wariness of newcomers and new ideas; young people leave; limited access to business expertise, production services and training; and high transport costs. Isolation means a unique local culture; a friendly community; freedom from city-based art fads, stress and busyness; and blue skies, time and a clear view.
Andersen, L, ''Useful, usable and used': Sustaining an Australian model of cross-faculty service learning by concentrating on shared value creation', Gateways: International Journal of Community Research and Engagement, vol. 10.View/Download from: UTS OPUS or Publisher's site
In recent decades, partnerships between community-based organisations and universities through service-learning programs have proliferated, reflected in an equally energetic growth in the research literature on process, evaluation, benefits and lessons learned. As an example of student experiential education through community engagement, service learning's potential to contribute to students, community partners and the university is well recognised, although the research has tended to focus on benefits to students rather than the value in engagement for the community sector. UTS Shopfront Community Program is a cross-university initiative that has successfully facilitated curricular service learning in multiple disciplines for 20 years at an Australian university, leading to the completion of more than 1000 community projects. In examining this program, this article aims to describe both a sustainable, generative partnership model for creating shared value and, through analysis of 10 years of evaluation data, define what value is created for community partners and students through this project work. Key components in enabling a shared-value approach include: community-initiated projects based on need; a dedicated cross-university program and an assigned project coordinator; the engagement of faculty expertise through students with developed skills in appropriately structured courses; and community ownership of outcomes. Ongoing challenges include: scoping 'student-ready' briefs; managing risk, commitment and workload; designing coursework structures to deliver shared value; and achieving the 'Holy Grail' of transdisciplinarity.
Andersen, LJ 2015, 'Servicing growth in established SME creative industries businesses: Evidence from the Creative Industries Innovation Centre's client-businesses and Business Advisers' in Andersen, LJ, Ashton, P & Colley, L (eds), Creative Business in Australia: Learnings from the Creative Industries Innovation Centre, UTS ePRESS, Sydney, pp. 193-209.View/Download from: UTS OPUS or Publisher's site
From 2009 to 2015 the Creative Industries Innovation Centre (CIIC) undertook 750 Business Reviews of small to medium-sized creative enterprises with a turnover of $1 million or more and at least three years of trading. This chapter draws upon a 2014 survey of those client-businesses and interviews with CIIC creative industries Business Advisers to explore the priorities for established creative businesses around growth and market development; internal capabilities in the areas of human resource management and sales and marketing; and their perspectives on the gap for government service interventions.
Andersen, LJ & Malone, M 2015, 'Having the conversation: creative engagement methods for inclusivity in regional cultural planning' in Ashton, P, Gibson, C & Gibson, R (eds), By-roads and hidden treasures: mapping cultural assets in regional Australia, UWA Publishing, Crawley, Western Australia, pp. 37-52.View/Download from: UTS OPUS
Andersen, LJ 2013, 'Asking a local: mapping cultural assets with residents - Central Darling Shire & Uralla Shire' in Andersen, L & Malone, M (eds), All culture is local: good practice in regional cultural mapping and planning, UTS ePress, Sydney, pp. 6-13.View/Download from: UTS OPUS
Who better to tell you about what's local and special than local people? This case study looks at how the University of Technology, Sydney, worked with Central Darling Shire and Uralla Shire on research to engage local residents in both articulating what cultural assets are most important to them, and mapping local cultural industries.
Andersen, LJ 2012, 'Magic Light, Silver City: the business of culture in Broken Hill' in Gibson, C (ed), Creativity in Peripheral Places Redefining the Creative Industries, Routledge, London, pp. 71-85.
This chapter examines cultural industries in Broken Hill—the iconic 'Silver City' of Australian mining in far western NSW—and comes from research funded by arts and regional development agencies during 2006 and 2007. In interviewing and surveying the 'movers and makers' of the local cultural sector a picture emerged of a successful group of mainly informally qualified professional visual artists and crafts people working from home studios who spend more time on their practice and make more money than their metropolitan counterparts; a thriving service sector, fine weather and competitive location infrastructure for screen industries; and a community proud of its 'arid artists' and its historical and international reputation as a film set. Artists enjoy the lower-than-city costs of accommodation, the quality of light, their proximity to 'Outback' and industrial landscapes, and sustainable local and seasonal tourist markets. With a focus on richly coloured landscape painting and traditional crafts and some contempt for the city 'art mafia', there is limited diversity of cultural products and a 'half-Sydney' market ceiling price on local sales. The Indigenous arts sector has a low profile and is surprisingly—given high numbers of international tourists—underdeveloped. The arts community is fragmented by divisions that both reflect the male-dominated, rugged independence and 'us and them' heritage of this desert mining and 'union town' and inhibit cooperative development. Remoteness means wariness of newcomers and new ideas; young people leave; limited access to business expertise, production services and training; and high transport costs. Isolation means a unique local culture; a friendly community; freedom from city-based art fads, stress and busyness; and blue skies, time and a clear view.
Andersen, LJ 2016, 'How to Build a Sandcastle: 20 years (re)building a community engagement program', Engagement Australia, Victoria University, Melbourne.
Warren, AT, Gibson, C & Andersen, LJ 2010, 'Cool places and hidden creativity: mapping vernacular cultural assets in a regional Australian city', Association of American Geographers, Washington DC.
Working with the premise that environmental, social and industrial bases of regional life are changing markedly, this paper responds to the session theme by outlining how paper copy, GIS and online interactive maps are useful tools for storing, analysing and conveying information about cultural assets in regional areas. We draw on research from a regional Australian city, Wollongong, with strong working class and industrial legacies. In Wollongong interviews and mapping exercises were undertaken within a stall at a major community festival. 200 local participants were invited to mark out, on large paper maps, places they thought were 'cool' 'fun' and 'creative' across the city and its suburbs. While drawing on their maps, participants explained why they enjoyed visiting each particular site, space or event. Converting the paper maps into a layered GIS then allowed further spatial analysis, revealing a number of surprising places, sites and landscapes as cultural assets. Moving beyond the predictable in cultural planning and creative industries research, this project takes a participatory approach towards thinking about the cultural economy of places. Rather than blanketing these regions with textbook cultural and economic strategies, in this project maps became a tool to listen to vernacular voices, and a means to communicate results back to the general public and policy makers. Maps tell us more than just what is where - they invoke geographically-rich responses from research participants and enable diverse stories of the city to be told.
Andersen, LJ & Andrew, J Far Western Regional Development Board 2007, Quality of light, quality of life: professional artists and cultural industries in and around Broken Hill, pp. 1-87, Broken Hill, Australia.View/Download from: UTS OPUS
This research aims to advance understanding of the arts and cultural industries sector and to support policy formation by making explicit the character of cultural production and the talent pool of professional artists in the region, identifying barriers to development and employment creation and providing recommendations to grow this sector. Professional artists and cultural producers who live in the region including Broken Hill, Menindee, Wilcannia and White Cliffs - completed a questionnaire capturing information about their creative practices, audiences and markets, income and business practices. Interviews were recorded, focus groups run, and secondary research was also part of the mix. The project also researched and built a database of local professional and emerging artists, cultural businesses and other relevant businesses in the area.
Andersen, LJ & Talmacs, N Arts Northern Rivers 2006, Common Ground: Profiles of 18 Cultural Festivals in NSW's Northern Rivers Region - Report for the Arts Northern Rivers Festivals & Events Network, pp. 1-78, Alstonville, NSW.View/Download from: UTS OPUS
This report provides an overview of festivals in the Northern Rivers region of NSW, with a focus on audiences and marketing. By identifying common ground in the development needs, marketing approaches and sustainability challenges faced by the festival organisations, it recommends opportunities for joint approaches and co-resourced activities including professional development programs and collaborative marketing and sponsorship activities.