No products in the cart.
Aboriginal artist Samson Martin Japaljarri is a Warlpiri artist from Yuendumu in the Northern Territory of Australia.
Samson works in the the mediums of acrylic on canvas and original screen prints, Samson was one of five Aboriginal arts from Yuendumu to be included in our international touring exhibition “Yilpinji, Love, Magic and Ceremony” in 2003.
Gantner Myer collection
Art Gallery NSW
1996 Indigenart, Perth
1997 Aboriginal and Tribal Art Gallery, Sydney
1997 Art Gallery NSW, Festival of the Dreaming, Ngapa Sand Painting, Sydney
1998 “Cockatoo Creek”, South Australian Museum, Adelaide
1998 DESART, Adelaide Festival, Tandanya
1998 Framed Gallery, Darwin
1998 Art Gallery NSW, Festival of the Dreaming, Ngapa Sand Painting, Sydney
1999 “Love Magic: Erotics, Politics and Indigenous Art”, S.H. Ervin Gallery, Sydney.
1999 ‘Spirit Country’, Ground painting installation and painting, Fine Arts Museums of San Francisco, USA
2000 “jangku yinyi”, Carey Grammar Baptist School, Melbourne
2000 Kurawari, Desart Gallery, Sydney.
2000 Paintings and Prints, Northern Territory University, Darwin
2000 ‘Wayuta’, The Desart Janganpa Gallery, Alice Springs
2003 Yilpinji, Love, Magic and Ceremony, Outback Gallery, Darling Harbour. Sydney
2003 Yilpinji, Love, Magic and Ceremony, Darwin Entertainment Centre Gallery, Darwin, NT
2003 Yilpinji, Love, Magic and Ceremony, Alcheringa Gallery, Victoria BC Canada.
1997 ‘Ngapa’ canvas ( 7 x 3 metres) completed for the Art Gallery of New South Wales and the Festival of the Dreaming. Sand Painting made to coincide with exhibition opening.
1999 The Fine Art Museums of San Francisco, with the support of the Australian Government, commissioned Jack Jakamarra Ross, Samson Japaljarri Martin and Thomas Jangala Rice to create a sand painting for the opening of the ‘Spirit Country’ exhibitibition (art from the Gantner-Myer Collection) to complement the large ‘Liwirringki’ canvas that was the centrepiece of the exhibition.
Artlink Volume 20 No. 1 Reconciliation? Indigenous art for the 21st Century 2000 p. 87.