Abstract: The subject of the research is the role of art in the life of people, actual trends and patterns of communication between human and art as well as processes of changes of artistic needs of a modern society. The aim of the research is to evaluate actual consequences of changes in artistic needs of a modern society that make cultural experts to speak of the crisis of artistic culture. Summing up the results of recent researches that involved surveys of population and art audience for a long period of time and continuing their interpretation, the author evalutes actual changes in the leisure role of art, patterns of communication of art and audience, and actual risks of objective social processes. The methodological basis of the research is the priniple of sociological substantiation of cultural constructs with facts obtained in the course of empirical social measurements. Traditional descriptive methods do not bring us close to understanding the origin and patterns of consumer behavior in art. The author of the article bases the research on the results of empirical research and methods of mathematical statistics based on computer technologies. The novelty of the research is caused by the targets and results of the research. It is the first time in the academic literature that the author raises the problem of defining changes in artistic needs and leisure role of art in a long-term perspective. Determination of consumer behavior patterns in art is a new task as well. As a result of the research, the author discovers and describes some fundamental patterns of introducing arts to human, cultural evolution of consumer, and reproduction of art audience. 

Abstract: The question about the sources of human's attitude to art has always been a nettlesome issue. However, numerous attempts to explain such complex phenomena as human's attitude to art or one's taste for art with simple causes as age, education and other measurable properties of the audience do not allow to explain consumer behavior but result in ignoring important potential determinants including motivation. In this article Ushkarev tries to answer the question about the influence of different kinds of motivation on one's attitude to art and the role of status motivation. The research is based on econometric tools and analysis of the results of surveys carried out at State Tretyakov Gallery as part of the project that is aimed at analyzing the audience of the Gallery and has been carried out by State Institute for Art Studies. The following results have been obtained as a result of the research. First of all, the researcher has described three basic kinds of motivation attributable to consumers of art: recreational, substantial and status motivations. The author has also managed to define and measure the relationship between cultural activity and the degree of cultural capital and respondent's motivation. The results of the research prove a significant positive influence of substantial motivation on the intensity of art consumption while recreational motivation turns out to be an essential factor of a negative influence on the intensity of cultural consumption. At the same time, the author has not discovered a conclusive evidence that there is a status effect of education as Pierre Bourdieu described it. For Moscow cultural audience the status effect of education is most likely to have a theoretical nature in terms of consumption of culture services. The author also demonstrates that despite a usual negative connotation of the term, status motivation plays a positive role for consumption of art. 

Abstract: The subject of the research is the peculiarities and patterns of consumer behavior of the State Tretyakov Gallery audience, available cultural activities, and the author's attempt to define and measure their determinants. The growing interest towards audience preferences on the cultural activities market creates the need for cultural institutions to analyze the audience needs and modify the functional and format of the main activity in accordance with contemporary trends and demands. Museum specialists have come to understanding that without taking into account the needs of the audience, it is impossible to overcome the communication barriers between museum and audience. Sometimes museum specialists try to classify and manage their audience the same way as they classify and manage their exhibit items. On the other hand, they continue their traditional attempts to analyze the audience based on personal traits that are attributable to their visitors a priori. Today this is perceived as a rather limited approach that hinders from the actual understanding of true patterns of consumer behavior. Based on the author of the article, application of methods of mathematical statistics and econometrics to analyze sociological data expands opportunities for the sociology of art and signifies a shift to a fundamentally new level of research validity. In his article Ushkarev presents several new theoretical results of a grand-scale survey that involved the audience of the State Tretyakov Gallery. As part of his research, Ushkarev studies the museum audience based on conceptual features that go far beyond the borders of traditional socio-demographic descriptions but not only on objective parameters that are traditionally described by art sociologists. The interdisciplinary approach used by Ushkarev in his research has allowed to define cultural activities of the art museum audience and the impact of subjective and unmeasurable dimensions of the audience such as motivation and cultural capital. 

Abstract: The subject of the research is Russia's experience in studying the audience of art museums as well as development of the sociological research methodology that can be applied to analyse the audience of art museums. The object of the research is the research articles devoted to sociological surveys of the art museum audience in Russia starting from the 20s of the XXth century. The author focuses on the modern state of the relationship between art museums and audience. This allows to trace back the evolution of how museums have understood their audience as well as define particular research methods, identify the problem situation and outline the priority tasks in the sociological study of the art museum audience. The author applies the dialectical approach to studying the experience of social resaerch of the art audience. The research also involves materials that have had the greatest influence on the evolution of the concept of the art museum audience and their research methodology. The main result of the study is the reconstruction of the real picture and the degree of study as the characteristics of the audience of art museums, and the basic patterns of consumer behavior in relation to art. A large number of publications on the results of concrete sociological studies of the audience of museums, held by generations of scientists and museum enthusiasts with different goals and at different scientific and methodological levels, sometimes creates the illusory impression that most problems in this area have already been resolved. However, insufficient understanding of some important patterns of consumer behavior preserves the general problematic situation, which manifests itself in the existence of communication barriers between museums and the audience.

Abstract: The subject of the study is the evolution of the museum's understanding of its audience and its key parameters, the development of scientific approaches and the methodology of sociological research of museum audience, conditioned by this process. The object of the study is the experience and methodology of studying the audience of museum visitors abroad - in Europe and the US, tracked by the publication of the results of sociological research. The main attention is paid to the current state of scientific knowledge of the relationship between art museums and the public, as well as a methodology that is adequate to modern tasks. The dialectical approach is used to study the experience of the audience of art. The study also involves materials from researches that have had the greatest impact on the evolution of the understanding of the audience of art museums and the methodology for their study. The author presents a wide range of interests, trends and scientific approaches that characterize the current state of museum sociology in the West and have, in the final analysis, the main goal to overcome communication barriers, attract the audience and increase attendance. An increasingly common tendency has been found for the steady drift of museums in the channel of society serving, understanding that museums should always remain a space for cultural growth, continuous education, and also a tool for maintaining positive health and well-being.