As the Australian and New Zealand Journal of Art (ANZJA) enters its fifth decade of publishing, it approaches the status of venerable: it has a history and legacy to consider. During this time the baton of editorship has been regularly passed between art history departments every four years or so in the name of democracy and also renewal. The most radical year was 2000. As if re-enacting Dante’s journey through Hades, onto Purgatory and up to Paradise, the new millennium seemingly provoked ANZJA to leap from its Eurocentric origins into the Pacific. This new orientation was announced with a change of the masthead: the Australian Journal of Art morphed into the Australian and New Zealand Journal of Art. In that inaugural year, the baton had passed to Heather Johnson and Deborah Malor. Fired by this new impetus, from the offices of the Power Institute they doubled production to two issues per year with a combined total of 500 pages. No editorial team, including them, has since matched this output. Thirteen years later, Ann Stephen, then president of our association, announced a new ‘new era’ for the journal. Having signed a contract with Taylor & Francis, in 2014 ANZJA would go online and enter a new age of professionalism. That year the baton passed from Brisbane’s Institute of Modern Art – under Editor in Chief Robert Leonard and an editorial team drawn from Brisbane’s three universities – to the Power Institute again; this time into the slipstream of Mark Ledbury, the newly appointed and aptly titled Power Professor. Power’s editorial team consolidated the direction that by then had been well established by previous editors, and which we also intend to follow: to reflect the diversity of art historiography in our region and engage with the multiple currents shaping our discipline in this post-Western era. At the end of Power’s tenure, Professor Ledbury proudly reported a growth rate of 44% in downloads from the previous year. What he didn’t mention is that it was not a one off: this phenomenal increase had held each year during the previous years of their tenure. Since the first half of 2015 to the first half of 2018, our downloads nearly tripled, from 1,703 to 4,686. We felt this enormous legacy left by the Power team in another way. With increased downloads comes increased participation. As they passed the baton to us, they also passed enough manuscripts for an open issue plus plans for two themed issues, and we have received enough submissions since then for another open issue. The previous editorial team had the advantage of the resources provided by a reinvigorated Power Publications. We have the advantage of the recently launched Centre of Visual Art (CoVA) under the leadership of Professor Su Baker. With ArtþAustralia also being published out of CoVA, and the former e-Maj about to be subsumed by a new referred electronic journal, INDEX, as a partner with

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前言

随着澳大利亚和新西兰艺术杂志 (ANZJA) 进入其出版的第五个十年，它接近了受人尊敬的地位：它有历史和遗产需要考虑。在此期间，以民主和更新的名义，每四年左右在艺术史系之间定期传递编辑的接力棒。最激进的一年是 2000 年。仿佛重演但丁穿越冥府、炼狱和天堂的旅程，新千年似乎促使 ANZJA 从其以欧洲为中心的起源跃入太平洋。这一新方向是随着刊头的改变而宣布的：《澳大利亚艺术杂志》变成了《澳大利亚和新西兰艺术杂志》。在就职的那一年，接力棒传给了希瑟·约翰逊和黛博拉·马洛。被这股新动力点燃，来自电力研究所的办公​​室，他们将产量翻了一番，达到每年两期，共计 500 页。从那以后，包括他们在内的任何编辑团队都无法与此输出相匹配。十三年后，时任我们协会主席的 Ann Stephen 宣布了该期刊的新“新时代”。与 Taylor & Francis 签约后，2014 年 ANZJA 将上线并进入专业化的新时代。那一年，指挥棒从布里斯班现代艺术学院（由主编罗伯特·伦纳德（Robert Leonard）和来自布里斯班三所大学的编辑团队领导）再次交给了动力学院。这一次加入了马克·莱德伯里（Mark Ledbury）的后流，他是新任命的权力教授。Power 的编辑团队巩固了当时由前任编辑所确立的方向，我们也打算遵循：反映我们地区艺术史学的多样性，并参与在这个后西方时代塑造我们学科的多重潮流。在 Power 任期结束时，Ledbury 教授自豪地报告说，下载量比上一年增长了 44%。他没有提到的是，这不是一次性的：在他们任职的前几年里，这种惊人的增长每年都会发生。从 2015 年上半年到 2018 年上半年，我们的下载量几乎翻了三倍，从 1,703 次增加到 4,686 次。我们以另一种方式感受到了 Power 团队留下的巨大遗产。随着下载量的增加，参与度也随之增加。当他们把接力棒交给我们的时候，他们还传递了足够多的公开问题手稿和两个主题问题的计划，从那时起，我们收到了足够多的提交，用于另一个未解决的问题。之前的编辑团队利用了重新焕发活力的 Power Publications 所提供的资源。我们拥有在苏贝克教授的领导下最近成立的视觉艺术中心（CoVA）的优势。随着 ArtþAustralia 也将在 CoVA 之外出版，而前 e-Maj 即将被新推荐的电子期刊 INDEX 作为合作伙伴纳入