Can you tell us a little about your background and what drew you to the field of arts research?

I began my career studying public policies to mitigate pollution and evaluating effects of environmental regulations on businesses. Through that experience, I learned why market failures may lead to inefficient outcomes, how to measure the value of intangibles such as environmental quality, and how to assess impacts and unintended consequences of policies and programs with data.

After teaching and conducting research at UT Dallas for a couple of years, I joined the Dallas Fed as an economist at the onset of the mortgage crisis. The mission of my team then was to facilitate impartial credit access for low- and moderate-income households and communities. Data on individual households were scarce and often messy but, the crisis underscored the need for evidence-based research. I collaborated with practitioners, Fed researchers, and academics to improve data collection and examine innovative financial services and products to help rebuild financial resilience for the underserved populations.

I have always been fascinated by how arts and culture enrich our lives. From an economist’s perspective, the arts also have a profound societal impact by creating jobs, building communities, and enhancing overall well-being. The COVID pandemic triggered a transformation across of the creative industry, accelerating both innovation and adaptation. Now, we find ourselves in a critical period–one where the challenges of recent years have opened up new opportunities to rethink and strengthen the cultural sector. SMU DataArts offers a unique and exciting opportunity for me to apply data analysis and economic insights to help arts organizations not only recover but thrive in this pivotal era.

How do you see data shaping the future of arts organizations, and how do you plan to contribute to this at SMU DataArts?

For research intermediaries like SMU DataArts, we can help arts organizations tell their stories and connect the dots. We examine the data to understand what organizations are facing and help them adapt to the shift of consumer preferences. I am hoping to contribute to this effort by ensuring scientific data collection, rigorous analysis, and sensible interpretations. I will also work on building partnerships between arts organizations and the academia and arts service organizations.

What’s one piece of research or an insight from your career that has significantly impacted the way you think about the arts and culture sector?

I collaborated with my colleague, economist Yichen Su, on a paper examining conspicuous consumption of luxury vehicles by non-prime consumers, which was recently published in the Journal of Economic Behavior and Organization. We explored how the desire for prestige and social status can influence vehicle purchases among consumers. Our findings showed that some consumers buy luxury cars not for their inherent functionality or aesthetic value, but to signal status or emulate their peers. However, for low-income consumers, this can be financially burdensome, as it may lead them to cut back on essential goods, reduce savings, or accumulate debt beyond their ability to repay.

While this research focused on luxury goods, it offers important insights for the arts and culture sector. Art, unlike luxury items, is not necessarily a status symbol reserved for the wealthy. Most art forms can be appreciated by a wide range of people, regardless of their financial status, and the emotional and aesthetic value of art should be distinguished from its usefulness or status-based value. Understanding the different types of value that art holds is critical for designing effective programs and interventions in the sector. Additionally, our study highlights the complexity of consumer motivations and the importance of considering both individual preferences and the broader community context when analyzing behavior—an approach that is equally relevant in the arts sector.

How do you approach leading a research team, and what’s your leadership philosophy?

I believe every member of the research team has their own personal values and professional goals and work the best under different conditions. I’m excited to learn more about them and provide support for aligning personal and organizational goals. I encourage the team to offer useful feedback for each other and always assume good intention.

In your opinion, what are some of the biggest challenges and opportunities facing arts organizations today?

In my short time observing the sector, I’ve noticed that arts organizations are faced with an overwhelming amount of information and tools to navigate. Many are struggling to find a balance between their core mission of creating art and the operational demands of managing a business, all while dealing with limited resources and capacity. This presents an opportunity for collaboration, as working together could help organizations achieve greater scale and efficiency. Leveraging research is one way to do this effectively.

However, one of the key challenges, especially for smaller organizations, is the difficulty in meeting the data reporting requirements that are essential for generating actionable insights. Without this data, it’s harder for organizations to make informed decisions that can help them grow and adapt. Additionally, long-term planning is another significant challenge, as many arts organizations are focused on surviving day-to-day rather than developing sustainable, forward-looking strategies.

If you could attend any performance, exhibit, or event from the past or future, what would it be and why?

Theater of the Mind, an immersive theatrical production based in Denver, Colorado, which combines neuroscience and arts. I heard about it at the recent The Arts Community Alliance (TACA) event from its producer, Charles Miller. It sounded incredible because the audience was engaged in reflecting on themselves, discovering how their experience was formed, and later learned that it’s possible to change one’s identity and memories. Unfortunately, the show already closed in 2023.

Wenhua’s expertise and dedication to using data and research to empower arts organizations will undoubtedly be a tremendous asset to SMU DataArts. As she steps into her new role, we look forward to the innovative approaches she’ll bring to help the sector grow and adapt. Join us in welcoming Wenhua to the team—we’re excited to see how her work will shape the future of arts research and impact the community we serve. Read the Press Release