Buy good companies. Don't overpay. Do nothing. Some people love to make successful investing seem more complicated than it really is. In this anthology of essays and letters written between 2010-20, leading fund manager Terry Smith delights in debunking the many myths of investing - and making the case for simply buying the best companies in the world. These are businesses that generate serious amounts of cash and know what to do with it. The result is a powerful compounding of returns that is almost impossible to beat. Even better, they aren't going anywhere. Most have survived the Great Depression and two world wars. With his trademark razor-sharp wit, Smith not only reveals what these high-quality companies really look like and where to find them (as well as how to discover impostors), but also: - why you should avoid companies that abuse the English language - how most share buybacks actually destroy value - what investors can learn from the Tour de France - why ETFs are much riskier than most realise - how ESG investors often end up with investments that are far from green or ethical - his ten golden rules for investment - and much, much more. Backed up by the analytical rigour that made his name with the cult classic, Accounting for Growth (1992), the result is a hugely enjoyable and eye-opening tour through some of the most important topics in the world of investing - as well as a treasure trove of practical insights on how to make your money work for you. No investor's bookshelf is complete without it.

Who gets to say what counts as contemporary art? Artists, critics, curators, gallerists, auctioneers, collectors, or the public? Revealing how all of these groups have shaped today's multifaceted definition, Terry Smith brilliantly shows that an historical approach offers the best answer to the question: "What is Contemporary Art?"

Smith argues that the most recognizable kind is characterized by a return to mainstream modernism in the work of such artists as Richard Serra and Gerhard Richter, as well as the retro-sensationalism of figures like Damien Hirst and Takashi Murakami. At the same time, Smith reveals, postcolonial artists are engaged in a different kind of practice: one that builds on local concerns and tackles questions of identity, history, and globalization. A younger generation embodies yet a third approach to contemporaneity by investigating time, place, mediation, and ethics through small-scale, closely connective art making. Inviting readers into these diverse yet overlapping art worlds, Smith offers a behind-the-scenes introduction to the institutions, the personalities, the biennials, and of course the works that together are defining the contemporary. The resulting map of where art is now illuminates not only where it has been but also where it is going.

Brand Fusion: Purpose-driven brand strategy presents a compelling case for what consumers, customers, employees, and wider society are now demanding from companies - the development of brands that deliver profit with purpose, are sustainable, and create mutually beneficial meaning. It fuses theory-practice-application to purpose-driven brand strategies in order to develop a unique approach that has comprehensive theoretical underpinning as well as practical and thought-provoking lessons from industry. Data-driven case studies from a broad range of brands and contexts show the application of this learning-from micro-brands to corporates; charities to technology companies; retirement villages to aspiring high-growth start-ups. Brand Fusion: Purpose-driven brand strategy is an in-depth analysis of the philosophy and practice behind creating a purposeful brand.

"Barack Obama, Post-Racialism, and the New Politics of Triangulation" examines black voters' relationship to the political process and to the first black president in a prematurely post-racial America. Using interviews with members of the Congressional Black Caucus, empirical data, news accounts, academic literature and case law, Professor Terry Smith argues that the price of black electoral success outside of traditional majority-minority settings has become the triangulation of the post-racial black politician's African-American constituency. The book is broad-ranging in its examination of how black politics has become so susceptible to marginalization even in a nation governed by its first black president. Among other contributing factors, the book examines how money in politics curtails black voter choice and autonomy, the attempt by black conservatives to fracture black voter cohesion, and the tenuous alliance of Latino and black voters. It then turns its attention to the electoral calibration that post-racial black politicians such as Obama must perform between identifying with black-centric concerns and retaining the support of white voters who are averse to race talk, even when it is in the name of racial equality. While observing that the balance struck by Obama has at times amounted to the triangulation of black voters, the author ultimately observes that black voters are sophisticated enough to channel disappointment into a redoubling of their engagement with the political process to demand that it work in their interests.

NEW PAPERBACK EDITION WITH ADDITIONAL INTRODUCTION AND END NOTE FROM THE AUTHOR Why, years after the banking crisis, is the global economy still mired in recession and burdened by enormous debts? Why have the tried-and-tested economic policies of the past failed us this time? In Life After Growth, leading City analyst Tim Morgan sets out a ground-breaking analysis of how the economy really works. Economists are mistaken, he argues, when they limit their interpretation of the economy to matters of money. Ultimately, the economy is an energy system, not a monetary one. From this, it follows that we need to think in terms of two economies, not one - a 'real' economy of work, energy, resources, goods and services, and a parallel, 'financial' economy of money and debt. These two economies have parted company, allowing the financial economy to pile up promises that the real economy cannot meet. Starting with the discovery of agriculture, Tim Morgan traces the rise of the economy in terms of work, energy and resources. The driving factor, he explains, has been cheap and abundant energy. As energy has become increasingly costly to obtain, the potential for prosperity has diminished, to the point where growth in the real economy has ceased. An immediate problem is that our commitments - including debt, investments and welfare promises - cannot be honoured, which means that we can expect the financial system to be wracked by value destruction. At the same time, we need to adapt to a future in which prosperity can no longer be taken for granted.

What is contemporary curatorial thought? Current discourse on the topic is heating up with a new cocktail of bold ideas and ethical imperatives. These include: cooperative curating, especially with artists; the reimagination of museums; curating as knowledge production; the historicization of exhibition-making; and commitment to extra-artworld participatory activism. Less obvious, but increasingly of concern, are issues such as rethinking spectatorship, engaging viewers as co-curators and the challenge of curating contemporaneity itself. In these five essays, art historian and theorist Terry Smith surveys the international landscape of current thinking by curators; explores a number of exhibitions that show contemporaneity in recent, present and past art; describes the enormous growth world wide of exhibition infrastructure and the instability that haunts it; re-examines the contribution of artist-curators and questions the rise of curators utilizing artistic strategies; and, finally, assesses a number of key tendencies in curating as responses to contemporary conditions. "Thinking Contemporary Curating "is the first book to comprehensively chart the variety of practices of curating undertaken today, and to think through, systematically, what is distinctive about contemporary curatorial thought.

In Art to Come Terry Smith—who is widely recognized as one of the world's leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.

Marketing theory is often developed in isolation not collaboration; theoretical perspectives sometimes are ignorant of the diversity of marketing practice. In "The roots and uses of marketing knowledge: a critical inquiry into the theory and practice of marketing", the author engages with the vital conversation about how marketing knowledge is created, disseminated and consumed, looking beyond the traditional reification of practice in theory and verification of theory in practice. The ontology of this work is anchored in subjective individual meaning; the epistemological stance assumes that this meaning is socially constructed. Consequently, rich empirical data, grounded in the context of experiential evidence, is extracted from a comprehensive range of marketing constituencies: academics, practitioners, managers, consultants, authors, lecturers and students. In its examination of the polarities, hybridity and iterative flow of marketing knowledge creation and consumption, this text posits a cohesive argument for a theory/practice bipartite fusion not dichotomy, adding valuable insights into the textual, contextual and pedagogical representations of marketing knowledge. The history and future of marketing knowledge is examined with the aid of instructive illustrations and insightful first-hand experience. Drawing on extensive qualitative research from a broad range of influential producers and vital consumers, Dr. Smith presents a relevant, exciting marketing knowledge framework which will be a vital resource for academics, students and practitioners.

In this landmark collection, world-renowned theorists, artists, critics, and curators explore new ways of conceiving the present and understanding art and culture in relation to it. They revisit from fresh perspectives key issues regarding modernity and postmodernity, including the relationship between art and broader social and political currents, as well as important questions about temporality and change. They also reflect on whether or not broad categories and terms such as modernity, postmodernity, globalization, and decolonization are still relevant or useful. Including twenty essays and seventy-seven images, "Antinomies of Art and Culture" is a wide-ranging yet incisive inquiry into how to understand, describe, and represent what it is to live in the contemporary moment.

In the volume's introduction the theorist Terry Smith argues that predictions that postmodernity would emerge as a global successor to modernity have not materialized as anticipated. Smith suggests that the various situations of decolonized Africa, post-Soviet Europe, contemporary China, the conflicted Middle East, and an uncertain United States might be better characterized in terms of their "contemporaneity," a concept which captures the frictions of the present while denying the inevitability of all currently competing universalisms. Essays range from Antonio Negri's analysis of contemporaneity in light of the concept of multitude to Okwui Enwezor's argument that the entire world is now in a postcolonial constellation, and from Rosalind Krauss's defense of artistic modernism to Jonathan Hay's characterization of contemporary developments in terms of doubled and even para-modernities. The volume's centerpiece is a sequence of photographs from Zoe Leonard's "Analogue" project. Depicting used clothing, both as it is bundled for shipment in Brooklyn and as it is displayed for sale on the streets of Uganda, the sequence is part of a striking visual record of new cultural forms and economies emerging as others are left behind.

"Contributors" Monica Amor, Nancy Condee, Okwui Enwezor, Boris Groys, Jonathan Hay, Wu Hung, Geeta Kapur, Rosalind Krauss, Bruno Latour, Zoe Leonard, Lev Manovich, James Meyer, Gao Minglu, Helen Molesworth, Antonio Negri, Sylvester Okwunodu Ogbechie, Nikos Papastergiadis, Colin Richards, Suely Rolnik, Terry Smith, McKenzie Wark