Ellie Smith – författare

Across the world, mass graves, often containing a multitude of human remains, are sites of human loss, suffering and unimaginable acts of cruelty. While no one mass grave or its investigation is the same, all mass graves contain evidence that is essential to the realisation of justice and accountability goals for victims, affected communities, states in transition and the international community.This book tactfully examines this sensitive topic, demonstrating how mass grave investigations can be highly complex, context-specific, lengthy and expensive processes, requiring significant planning, coordination, expertise and resources. The book analyses the various processes involved in mass grave investigation from a number of disciplinary perspectives and a variety of geographical, cultural and political contexts, including Bosnia, Guatemala, Libya, Nepal and Rwanda. Chapters feature expert contributions from voices in the fields of forensic sciences, advocacy and the judiciary, along with world-leading international legal expertise on mass graves, their protection and investigation.This timely book will be an ideal resource for practitioners and academics in the fields of international criminal law, international human rights law, international humanitarian law and transitional justice. Students interested in forensic archaeology, anthropology, fact-finding and human rights investigations will also find this a stimulating read.

Stunning artwork and illustrated essays illuminate the modernist home and studio of artists Vanessa Bell and Duncan Grant. Accompanying an exhibition at Philip Mould & Company in London, this lavish catalog tells the story of Vanessa Bell and Duncan Grant's enduring attachment to their home at Charleston Farmhouse in East Sussex through the work of the artists produced between the two world wars.  Members of the Bloomsbury Group, Bell and Grant's family home functioned as the collective's country retreat and became a venue for progressive social self-expression. Their fondness for their Charleston Farmhouse, its idyllic surroundings, and its constant flow of visitors can be witnessed through their art. Beginning with radical modern works influenced by European trends—from painted furniture to depictions of food preparation in the kitchen, from the barns to the pond, from people to the household cat—this catalog tells a story of more than thirty years of astonishing artistic output. Focusing on Vanessa and Duncan's most productive creative years, this volume illustrates how Charleston fed their artistic impulses and inspired a glorious canon of art.

Accompanying a major exhibition at Philip Mould & Company, Without Hands: The Art of Sarah Biffin presents the work of the remarkable 19th-century disabled artist who has been largely overlooked by art historians. This book and exhibition celebrate her art, life and legacy.Sarah Biffin (1784–1850) came from humble origins yet rose to fame in the 19thcentury as an exceptionally talented miniaturist. As a working-class, disabled female artist, her artworks – many proudly signed “without hands” – are a testament to her talent and life-long determination. Despite her prolific artistic output, Biffin’s life and work has been largely overlooked by art historians – until now.Sarah Biffin was born with the condition ‘phocomelia’, described on her baptism record as ‘born without arms and legs’. She spent her childhood in her family home where she learnt to sew and write. Biffin was later contracted to Mr Dukes, who ran a travelling sideshow, where Biffin would write and paint in front of an audience. The crowds who turned up left with a sample of her writing included in the cost of their ticket.In her mid-twenties she began formal tuition with a miniature painter, William Marshall Craig, and from 1816 she set herself up as an independent artist. Biffin travelled extensively, exhibiting her artwork and taking commissions all over the country, before finally settling in Liverpool. Throughout her long and successful career, she took commissions from nobility and royalty, and recorded her own likeness across the years through exquisitely detailed self-portraits.Working closely with the project’s advisor – artist Alison Lapper MBE (born with the same condition as Sarah Biffin 180 years later) – and consultant and contributor – Professor Essaka Joshua (specialist in Disability Studies at the University of Notre Dame, Indiana) – this publication and exhibition seek to celebrate Biffin as a disabled artist who challenged contemporary attitudes to disability. It is fully illustrated and includes original research.