Richmond District’s Avenue 12 Gallery Showcases Photo-Mosaics by Simo Neri

By DeWitt Cheng

If traditional matted and framed photographs that depict one instant in time from one viewpoint – “the decisive moment,” in the phrase erroneously attributed to the French photographer Henri Cartier-Bresson – seem somehow old hat in the everything-right-now digital era, the current show at Avenue 12 Gallery may be what you’re looking for.

Urban Rhythms features a variety of photographic collages or mosaics by Simo Neri, shot in Paris, Rome and New York, before her recent return to San Francisco, and printed on cotton canvas and silk. Presenting multiple views of places and events that capture the complexity and simultaneity of contemporary life, they may remind the observer of the multiple views in Picasso’s cubism and the ironic photo arrays in Warhol’s Pop, a century ago and 50 years ago, respectively. The show opened June 26 and reopened, after a hiatus, on July 31, continuing until August 17.

If you are unfamiliar with Avenue 12 Gallery, it’s a gem of a space located at the corner of 12thAvenue and Lake Street in the Richmond District, across the street from Mountain Lake Park. Formerly a convenience store, the light-filled storefront was converted into a showroom for Japanese furniture and artifacts under the name TableAsia in 2005.


Vince Meyer and his wife Rachel Murray Meyer are the owners of Avenue 12 Gallery at the corner of 12th Avenue and Lake Street in the Richmond District. Photo by DeWitt Cheng.

Vince Meyer, who with his wife Rachel Murray Meyer owns the gallery, grew up in the Richmond and learned metal work from his father, the proprietor of Metal Mending, on Clement Street, between 12thand Funston avenues, across from the Christian Science Reading Room. Vince took over the business from his retired father and operated it until 1988. In the mid-1980s, a client brought him a tansu, an antique Japanese storage chest of exquisite craftsmanship, requesting that he fashion a steel base suitable for displaying the piece in a western home: raising it about eight inches to table height; protecting it from kicks and scuffs and bestowing on it the formal presentation worthy of a museum piece.

“I fell in love with the whole Japanese aesthetic, the art, the culture,” Vince said. “I started reading about Buddhism and Zen and watching Kurosawa movies – the whole deal.”

Devising a strong but minimalist powder-coated black steel structure, he was discovered by other antiques clients as well as a few artists and Table Asia continues today with in the gallery, discreetly subordinated to the contemporary art and online (, with custom contemporary furniture fashioned from beautifully carved and gilded windows, doors and ranmaand wooden transom screens, as well as hanging painted silk scrolls and framed katagami, the intricately cut paper stencils used in block-printing fabric for kimonos.

Several years ago, the Meyers decided to hang the artwork of several painter friends and local artists in the gallery.

“We thought it was just going to be one show at that point,” Rachel said. “But it was exciting to see new work on the walls and the artists were so happy to see their work on the walls.”

“We started meeting new people, and it expanded,” Vince added. “We always thought of it as an expansion rather than a change.”

Rachel has been an art collector since college, buying a painting at the Smith College Art Gallery in installments from her waitressing job. A professional artist and photographer herself (as well as an industrial engineer), she also had prior experience selling photographs – hers and those of William Giles and Ruth Bernhard. She was also involved in an art auction benefiting the Dalai Lama. “Sharing the space” with artists and the art community is a priority with the Meyers, who are active participants in the Bay Area art scene as well as members of the San Francisco Art Dealers Association.


Artist Simo Neri. Photo by DeWitt Cheng.

In her July 20 talk at the gallery, Simo Neri displayed the passion and intellectual curiosity that mark all of this gallery’s exhibitions. She distinguished between theoretical or project-based artists, who work from a premise and artists who “go out and hunt and capture visual opportunities … opportunistic photographers,” with whom she feels a closer affinity.

She also identifies as a “serial photographer.”

“One image does not tell the whole story, Neri said. “Combine enough single images, and patterns and rhythms emerge.” Indeed, for Neri, rhythm is more than a compositional device. It is her view of the structure of life on earth, visible in the of her patchwork quilt of her earthen-hued photos,


The architectural treasures of Korea, copied from old books and colorized in Prussian blue in “Door and Windows” and “Roofs” by Neri Cheng.


“Mura Romane II” (Roman Walls); the herringbone pattern of alternating diagonal architectural vistas in “Paris Perspective” and “NYC Perspective” by Simo Neri. Photo by DeWitt Cheng.

Other works include collages of Paris garbage (“Trash’), Brooklyn graffiti (“Talking Walls II”) and protest-march signs (”Signs of the Times”). Each Urban Rhythmphoto-collage is composed of Cartier-Bresson images à la sauvette, to use the French term, taken on the sly rather than planned and pre-visualized: each assemblage of grab shots, to use contemporary American photo parlance, is elevated to the level of art.

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