This title is an artists exhibition catalogue of digital prints on paper and fabric, by Carl Jaycock.

"Do Not Refreeze" charts a 'lost' chapter in the history of European photography. These photographers developed their practice in the former East Germany negotiating its omnipresent secret police to create imagery, increasingly compared to that of luminaries such as Henri Cartier-Bresson, Diane Arbus and Robert Frank. The stunning images convey a glimpse of day-to-day life and evoke the claustrophobia, rage, envy and ideological pomp of the Communist era as well as its unexpected personal warmth, tenderness and exoticism. Had they been painters, sculptors, authors or playwrights, these photographers would have been arrested or imprisoned. Because photography was not considered to be 'art' however, they were able to circumnavigate a rigid system of censorship to produce the most insightful and openly critical visual arts output in East Germany's 40-year history. This book is published by Cornerhouse in association with the University of Hertfordshire.

Kathe Buchler (1876-1930) was a pioneering woman photographer whose exceptional photographs offer very personal insights into Germany during World War One, with a particular focus on the home front and the lives of women and children. Born Katharina von Rhamm in Braunschweig, Germany, and from a wealthy and privileged background, she was taught painting as a girl; many of her photographs have a notably painterly quality. She went on to study photography at Berlin's Lette Academy which, unusually for the time, admitted women. Like many women of the upper middle class, family life with her husband and children was Kathe Buchler's focus and became the central theme of her photography in the years before the First World War. During the war itself, in the most public phase of her career, her leading role in local institutions, including the Red Cross, gave her largely unrestricted access to the city's war effort and she produced unexpectedly intimate photographs of daily life in Braunschweig, in the city's military hospitals, as well as in the revealing series `Women in Men's Jobs'. As a result, she offers us a distinctive vision, raising the intriguing possibility of presenting the conflict from the perspective of women and children.Surprisingly, Buchler's work remained unknown outside its immediate locality, but it was exhibited in the United Kingdom for the first time between October 2017 and May 2018, allowing the process of placing it within its proper international context to begin. This catalogue, marking the exhibition Beyond the Battlefields, contains a wide selection of Buchler's work, including some of her exquisite Autochromes (using the world's first commercially available colour photographic process). The accompanying essays introduce the artist and address, amongst other things, the role of amateur photography in documenting war. In depicting the minutiae of daily life against the backdrop of war and its aftermath, Buchler's remarkable photographs speak to us across the intervening century, disrupting national stereotypes and opening up fresh perspectives on the Great War.

Rachel Garfield uses video, painting and photography to make work, which explores the gap between an individual's perception of their identity and the perceptions of others. A common theme in all her works, in whatever medium, is the way in which they layer multiple experiences and viewpoints. The presence of the artist as both subject and interviewer is also a recurring feature. The work places stereotypes alongside the subject of those stereotypes, to examine issues of identity, racism and belonging. However, the viewer is offered no easy pointers as to how to respond. Garfield presents us with a complex, multi-faceted view of the individuals concerned, and their relationship to their communities and histories.

Photographic work detailing site specific wall painting and contextualising essay.

Mapping the Unseen: The Art of Ahmed Moustafa is a short monograph on the work of artist Ahmed Moustafa.