Tali Weinberg’s work is included in the collection of the Berkeley Art Museum Pacific Film Archive (BAMPFA) and is exhibited in galleries and museums across North America, including Philbrook Museum of Art, the San Jose Museum of Quilts & Textiles, the Wattis Institute for Contemporary Art, and was included in the 2016 Hangzhou Triennial of Fiber Art in Zhejiang Province, China. She has taught at California College of the Arts (CCA), Penland School of Craft, the Textile Arts Center in NY, and Headlands Center for the Arts. Weinberg's research is supported by multiple grants and residencies including a Wingate Foundation-funded residency at Vermont Studio Center, a Collins Foundation-funded residency at Oregon College of Art, Craft, the Lia Cook Jacquard Weaving Residency, Caldera, and is currently funded by a three-year George Kaiser Family Foundation Tulsa Artist Fellowship. Recent lectures include the Keynote for Fiberart International's Triennial Symposium, a panel at the College Art Association on "Feminist Interventions in the Technophere,” and a presentation at the California Studies Association’s conference Parched: Dry Times in the Golden State in conversation with community organizers, scientists, and geographers. Weinberg holds an MFA from CCA and an MA and BA from New York University.
Grounded in a language of textiles, Weinberg's work addresses gender violence, the housing crisis, climate change, labor exploitation, and other traumas and insecurities that are experienced at once as social and personal. She works with textiles—as structures, systems of knowledge, and the material of everyday life—to create physical and psychological, material and metaphoric, temporal and geographic links between social change and our lives as experienced in our homes and on our bodies. Evoking the intimacy, sociality, and science of textiles, she reveals interconnections between multiple forms of knowledge and between corporeal, ecological, social, and political bodies.
Weinberg's work takes shape as inter-subjective reference materials including charts, maps, blueprints, and encyclopedias. These weavings, thread drawings, and works on paper are formally minimal, while embedded with the results of intensive material, interpersonal, and cross-disciplinary research. Some materialize data while others document the experiences, ideas, and efforts of women activists. All are grounded in feminism and the varied forms of knowledge required for skilled production: the math, structure, and systems of weaving, the biology and chemistry of dyeing, and the relationship between cerebral and embodied knowledge.
Fragments of thread are transformed into numerical and textual information, while text and data are transformed into thread. She weaves organic cotton dyed with a variety of plant and insect-derived dyes and mineral mordants into interpretations of historical climate data from the National Oceanic and Atmospheric Administration (NOAA). She unravels blankets and table linens that she wove in the past, reweaving the threads into new structures, or stitching them into texts and maps. Through video installation, she symbolically undose Jacquard-woven text describing the myth of the disposability of women as perpetuated by patriarchal capitalism. And she pulls apart language from conversations and newspaper articles, unraveling sentences like threads from a paragraph, in order to reweave them into resonating patterns on a printed page.