“Anthony Bondi’s Archive Establishes a Provenance for Las Vegas Arts” by Brent Holmes. southwestcontemporary.com. January 26, 2023
“Vegas Vanguard: Anthony Bondi, first known for collages of Sin City archetypes is remixing in 3D these days” by Scott Dickensheets. Double Scoop: Arts in Nevada. April 27, 2023
“My Space: Anthony Bondi.” By Scott Dickensheets. Desert Companion September 2017. Published August 28, 2017 https://knpr.org/magazine-desert-companion/2017-08-28/my-space-anthony-bondi
“Man On Fire: Burning Man behind him, Anthony Bondi returns to the local gallery scene with back-to-back shows” by PJ Perez. Vegas Seven. August 22, 2013
“Bondi Returns (with extra Bruner)”. City Life. August 29, 2013
“Bright Lights, Big City: Artists Ginger Bruner and Anthony Bondi react differently to the color saturation of Las Vegas” by Jenessa Kenway. City Life. September 12, 2013
“The Incidental Seer” by Kristen Peterson. Las Vegas Weekly, October 31, 2013
“Anthony Bondi’s Vegas Time Capsule: Artist uses postcards for Vegas collage“ by Jenessa Kenway City Life. November 7, 2013
“A Man in Parts: In which we create a collage portrait of collage artist Anthony Bondi, whose work once captured—and helped define—the Vegas zeitgeist. What’s he been up to since?” by Scott Dickensheets. Desert Companion. December 2013
“Color copier lets Las Vegas artist create High-Tech Prints” by George McCabe. Las Vegas Review Journal. April 7, 1992
Las Vegas News 13 feature in 1999:
Anthony Bourdain Parts Unknown appearance:
A couple of works verge upon clairvoyant, envisioning locations that did not yet exist. Predating the construction of the Venetian casino by seven years, "Crossroads" pairs a harbor of Venetian gondolas and buildings with the Googie-era Stardust sign in the background like a diamond-studded cloud. The work compares the improbability of a city built in the desert with the equally improbable city built largely upon water, while also looking at the architectural harmony achieved in Venice through blending of the disparate elements of Venetian Gothic architecture and Spanish Moorish influences.
"As Venice found harmony in combining many conflicting styles of architecture, we may find a way to harmonize the the conflicting styles of architecture found in Vegas,” Bondi says.
–Jenessa Kenway in City Life 2013
HIS FIRST COLLAGE WAS 1989's "FISSION Convention," showing a nuclear cloud billowing just beyond the old Convention Center. He had no intention of making another, he just wanted to see what mischief he could make using the stunning new technology of the color copier. But even as he worked on it, he knew his artwork - until then confined to the black-and-white drawings he'd been doing since childhood - would change. The potential to manipulate images, any image he could copy, lit him up. "I was waiting tables," he recalls, "and of course I didn't have any money, but I gave every penny I had to Kinko's in one day, then I'd go make some more tips and come back tomorrow and shovel more money at 'em," sinking $50, $100 into each picture.
"Obviously my life changed. I could feel it changing. It was a wonderful moment."
An aside: He never used Photoshop on the collages.
– Scott Dickensheets in Desert Companion, December 2013
Brimming with Las Vegas charisma and neon artifacts, this collection of images captures a pivotal moment in local history conveyed by an artist deeply connected with a city and time he was living in. The viewing experience is akin to opening a time capsule, objects of the past fondly picked up once more, made all the more strange and precious, colored by the present.
–Jenessa Kenway in City Life 2013
The wit latent in much of Soliloquy surfaces overtly in “Monet Water Lilies” (2008), a floating array of colorful mesh shower sponges that pranks the Impressionist icon. But if you keeping looking, it oscillates into abstraction and back — a conceptual motion you didn’t quite expect from a mere spoof. Same with “Snakes with Sky” (2008). If you wait out the lowbrow farce of a composition made entirely of toy reptiles, its thick black snakeforms and repeated white lizard shapes quickly assume an almost ab-ex quality.
– Scott Dickensheets in Double Scoop, 2023
Bondi, thanks to his valuation of history, has produced something notable: a singular catalog of articles on the history of Las Vegas art.
It may seem odd to refer to a database of media coverage on the arts as incredible, but if you are a practicing artist in Las Vegas, you know how sparse the documentation of the arts has been. We are a city that constantly erases its history. We hold nothing sacred, least of all the thing our civilization has come to call “art.”
– Brent Holmes in Southwest Contemporary 2023