No Business

Our interactions with art, especially process and concept, are often fleeting. In a world where what we see and experience is driven by want and immediacy, No Business Magazine encourages readers to slow down while exploring stories of artists and art-making.

Issue 1: Identity
Issue 2: Power Colors

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No Business Magazine is a collaborative project by Angela Zonunpari and Hanna Peterson, with support from Amy Jarding, Eli Show and other artists across the country.

Angela Zonunpari is an arts writer based in Sioux Falls, SD. She moved to the United States from India in 2013 to get a masters in arts journalism from Syracuse University, NY. Over the years, she's written about visual arts, music, dance, opera, theatre, and comedy. Zonunpari worked with multiple arts and community organizations while living in New York, including Rubin Museum of Art, artnet News, BRIC Arts | Media, and Bonhams Auctioneers. She now spends her time at Fresh Produce, an advertising agency in downtown Sioux Falls with a unique creative approach. The agency houses Ipso Gallery, an art space that promotes ideas and creative thinking, while curating distinct art experiences for the community. Zonunpari plays a significant role in supporting the curator and gallery director of Ipso, in community outreach, media relations, and more recently, curation. Before No Business Magazine, she produced an arts publication, Sound + Color, with her partner / artist Eli Show in 2017.

Hanna Peterson is a graphic designer based in Minneapolis, MN. She works with a number of national clients and projects at Latitude, a leading creative studio with offices in Minneapolis, New York, and Portland. Hanna is a graduate of South Dakota State University, with strong ties to her hometown of Sioux Falls. She brings years of artistic practice and process to this collaborative project, heading the design and art direction efforts for No Business Magazine.

Amy Jarding is a South Dakota artist, popularly known for her intricate and delightful weavings. She graduated from the University of South Dakota with a BA in English and History, and did not begin her artistic practice until she was well into her 20's. Now, she’s become a force to reckon with in the Sioux Falls arts community as well as the larger weaving community. In the last five years, she has written for and supported several local publications, including Skullmore, JAM Art and Supplies, and Sound + Color. At No Business Magazine, Amy assists in writing, editing, as well as editorial direction.


We have visited at length to see what form this publication could take and we've fulfilled a lot of those goals with our first issue, Identity. We’re committed to making something memorable with every issue of No Business Magazine, as well as the public programming and engagement we organize in our community. We want to encourage people to slow down and interact with the printed matter, but also empower them to have more honest conversations about art and culture, outside of art events.
We want to learn about the ideas behind bodies of work. We want to lift up the ideas behind art, which in turn raises the intrinsic value of art and artists. So, no business, just broad themes we’d visit with each issue.

The themes help us narrow down and zero in on artists, art practices and concepts we want to visit as No Business Magazine. Our curation of artists and concepts in each issue spans the United States, and we are continuously working to connect with people from around the world as well. We can't exist or thrive in silos, and we whole-heartedly embrace intersectionality, hybridity, and fluidity in people, ideas, and practice.

Our design, editorial guidelines and concept for No Business Magazine follow a similar path of how we approached Sound + Color. We’re intentional in what we’re doing, the people we’re connecting with, and how we’re presenting all of it in each issue of the publication. Our plan is to have a limited print run for each issue which will be distributed in conjunction with two other things we're working towards: artist open studios and curated house art shows. Our timelines are a little loose as compared to standard publications, as we depend on donations or grant funding. And also because we want to be truly intentional in what we produce — much like creating an art object. This is truly a labor of love, produced with the support of people who care deeply about raising the value of our art conversations and interactions.