Aswe reflect on the inspiring Inaugural International Art Therapy Practice/Research Conference this summer (London, July 2019), one of the lasting memories is of the images created by clients included in the many fascinating papers presented by art therapists from around the world. As art therapists we know that images are powerful... as Elkins says, ‘some pictures affect me for a few minutes, and others make permanent alterations in what I am’ (Elkins, 1996, p. 41). In art therapy, the focus is not only on the way individuals interact ‘with’ images but also on the ‘interactions which individuals form with each other through images’ [original emphasis] (Canals, 2011, p. 228). Visual art can often utilise a specific kind of symbolism and metaphor, which can work in a different way to narrative, with images having a more direct and immediate impact on our consciousness (Freeland, 2010, p. 189; Kramer, 1986). As artists and art therapists we recognise the power of art to challenge, communicate and create meaning and have witnessed the way in which images can convey pain and suffering which may be inexpressible in any other form (Franks & Whitaker, 2007; Padfield, 2003; Thorne, 2011; Toombs, 1990, p. 235). Theexhibition at the Inaugural Conference in July presented the first reproductions of some of the artworks fromEdwardAdamson’s (1911–1996) collection of drawings and paintings, created by in-patients at the longstay mental hospital – Netherne (1946–1981). Looking back at this collection reminds us that Adamson’s (1970) focus was almost entirely on the ‘art’ in therapy. Adamson claimed that... ‘The important thing is the art! [...] that’s the thing that is getting them better’ (Adamson, quoted in Seftel, 1987). This was said in the context of the 1980s, when art therapy was being drawn into an increasing reliance on psychoanalytical thinking and psychology, something that Adamson was uncomfortable about (Byrne, 1996; Hogan, 2001), fearing the focus was being drawn away from ‘art’ as the fundamental healing aspect of art therapy. We have since seen the development of research on a wide range of approaches to art therapy which keep art making and viewing as central, such as Carr and Hancock (2017), Coles, Harrison, and Todd (2019), Huet (2017), Kalmanowitz (2016) and Walker, Stamper, Nathan, and Riedy (2018), to name but a few. In order to reflect the centrality of the art in contemporary art therapy, our editorial board recently appointed the journal’s first photo editor. The photo editor’s sole responsibility is to ensure that the images we publish are of the highest quality andmeet rigorous ethical standards, underlining our view that the images which appear in the International Journal of Art Therapy (IJAT) are as important as the words. The images which our service users create within art therapy practice and research are a keyway that they can have a voice within a paper, therefore it follows that extreme care should be taken when reproducing artworks in photographic form. Bearing in mind that the photographs we publish are permanent lasting recordswhich represent our service users, it is important to ensure we take the highest quality photographs to represent them within publications. Thus it is important to take the time tomake such considerations as: how the images are lit; how they are framed within the photograph and the clarity of the resulting image. With this in mind, we have updated the IJAT instructions for authors and included a link to the Taylor & Francis guidelines on the submission of electronic artworks. For authors writing about sculpture within art therapy, it is also worth noting that recent technological advancements have now made it possible for 3D objects to be submitted and published online in a 3D format. It is the art that makes our discipline unique and ultimately a powerful healing force. Thus it is important that we as art therapists reproduce the images made in art therapy practice and research in a way which reflects our recognition of their immense value. Within this issue, we are delighted to publish the winning essay of our Art Therapy New Practitioner Essay Prize 2018–2020 (Preston, 2019) and two runners up (Furneaux-Blick, 2019 and Hollingsbee, 2019). Many congratulations to the worthy winners and thank you to all those who submitted manuscripts. It is heartening to see a new generation of art therapy practitioners and authors advancing their skills and we look forward to developing this biennial prize further in 2020–2022.

中文翻译：

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艺术的力量：图像在艺术治疗文献中的重要性

当回顾今年夏天（伦敦，2019 年 7 月）鼓舞人心的首届国际艺术治疗实践/研究会议时，最难忘的记忆之一是客户创造的图像，这些图像包含在来自世界各地的艺术治疗师提交的许多引人入胜的论文中。作为艺术治疗师，我们知道图像是强大的……正如 Elkins 所说，“有些图片会影响我几分钟，而其他图片会永久改变我的样子”（Elkins，1996，第 41 页）。在艺术治疗中，重点不仅在于个人“与”图像互动的方式，而且还在于“个人通过图像相互形成的互动”[最初的重点]（Canals，2011，第 228 页）。视觉艺术通常可以利用一种特定的象征和隐喻，它们可以以不同于叙事的方式工作，图像对我们的意识有更直接和直接的影响（弗里兰，2010，第 189 页；克莱默，1986）。作为艺术家和艺术治疗师，我们认识到艺术挑战、交流和创造意义的力量，并见证了图像传达痛苦和痛苦的方式，而这些方式可能无法用任何其他形式表达（Franks & Whitaker, 2007; Padfield, 2003;索恩，2011 年；Toombs，1990 年，第 235 页）。7 月举行的首届会议上的展览首次展示了爱德华·亚当森 (EdwardAdamson)（1911-1996 年）的素描和绘画作品集，这些作品由长期住院精神病院的住院患者 Netherne（1946-1981 年）创作。回顾这个系列提醒我们，亚当森 (1970) 的重点几乎完全集中在治疗的“艺术”上。亚当森声称......“重要的是艺术！[... ] 这就是让他们变得更好的事情”（亚当森，引自 Seftel，1987 年）。这是在 1980 年代的背景下说的，当时艺术治疗越来越依赖精神分析思维和心理学，亚当森对此感到不安（Byrne，1996；Hogan，2001），担心焦点被从“艺术”作为艺术治疗的基本治疗方面。从那以后，我们看到了以艺术创作和观看为中心的各种艺术治疗方法的研究发展，例如 Carr 和 Hancock（2017）、Coles、Harrison 和 Todd（2019）、Huet（2017）、 Kalmanowitz (2016) 和 Walker、Stamper、Nathan 和 Riedy (2018)，仅举几例。为了反映艺术在当代艺术治疗中的中心地位，我们的编辑委员会最近任命了该杂志的第一位照片编辑。照片编辑的唯一责任是确保我们发布的图像具有最高质量并符合严格的道德标准，这强调了我们的观点，即出现在国际艺术治疗杂志 (IJAT) 上的图像与文字一样重要。我们的服务用户在艺术治疗实践和研究中创建的图像是他们在论文中发表意见的关键，因此在以摄影形式复制艺术品时应格外小心。请记住，我们发布的照片​​是代表我们服务用户的永久记录，重要的是确保我们拍摄最高质量的照片以在出版物中代表它们。因此，重要的是要花时间考虑：如何点亮图像；它们在照片中的构图方式以及最终图像的清晰度。考虑到这一点，我们更新了作者的 IJAT 说明，并包含了一个指向 Taylor & Francis 提交电子艺术品指南的链接。对于在艺术治疗中撰写有关雕塑的作者，还值得注意的是，最近的技术进步使 3D 对象以 3D 格式在线提交和发布成为可能。正是艺术使我们的学科独一无二，并最终成为一种强大的治疗力量。因此，作为艺术治疗师，重要的是我们要以反映我们对艺术治疗实践和研究的巨大价值的认可的方式再现艺术治疗实践和研究中的图像。在本期中，我们很高兴发表我们的艺术治疗新从业者论文奖 2018-2020（普雷斯顿，2019 年）和两个亚军（Furneaux-Blick，2019 年和 Hollingsbee，2019 年）。祝贺获奖者，并感谢所有提交稿件的人。看到新一代艺术治疗从业者和作者提高他们的技能令人振奋，我们期待在 2020-2022 年进一步发展这一双年度奖项。