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Bourdieu and Darbel's classic study of European art museum audiences,), remains one of the most influential academic studies of the social indices of art perception. Its findings were central to Bourdieu's on-going study of culture-mediated power relations, as found in the bookDistinction(), as well as social surveys of the behaviour of museum audiences across the world. Much in Bourdieu's account of art perception, however, has begun to appear dated and in need of supplementation. This paper will be a critical but sympathetic re-reading of Bourdieu's sociology of art perception in the light of recent criticisms of his approach. Whilst fine art and its institutions continue to function as sources of social identification and differentiation, this paper argues that the relationship between perception and stratification is somewhat looser than connoted in Bourdieu's work. Beyond the shift to a less rigid taxonomy of social formations, the immense expansion of the visual arts complex has opened up possibilities for the dissemination of art knowledge beyond the cultivated bourgeois. The erosion of boundaries between the aesthetic and the economic, between art and popular culture, are the result of processes of commodification that have placed museums alongside shopping malls within the realms of consumption and entertainment. New audiences have emerged from this mix with less dichotomized– that is,eithercultivated or popular– ways of seeing culture that suggest a revision of Bourdieu's overly integrated account of class and cognition. An alternative,‘postmodern’, approach to art perception is entertained, where an aesthetics of distinction is replaced by a culture of distraction, but this abstracts culture from any structural grounding. Capturing the shift to an accelerated cultural present, instead, requires a warping of Bourdieu's categories to account for broader patterns of culture and economy and the accentuation of modern visual culture. [ABSTRACT FROM AUTHOR]

Best known for his pioneering studyDistinction: A Social Critique of the Judgement of Taste, in which the aesthetic attitude of disinterestedness is accounted for as the expression of a class ethos, Bourdieu has become something of an icon of relativism. In thus effecting a Bakhtinian‘discrowning’ of official hierarchies of the arts, he is often celebrated for his concern to place all tastes, popular and high, on a similar footing, equally rooted in specific class practices. Only a careless inattention could support such a conclusion. From his early interventions in French cultural policy debates up to and includingThe Rules of ArtandPascalian Meditations(1996), Bourdieu has consistently repudiated the view that a sociological approach to questions of aesthetic judgment must result in a levelling form of relativism. In exploring why this should be so, this paper considers the issues at stake in the forms of‘historical universalism’ that are associated with Bourdieu's account of the autonomy of the aesthetic sphere. It does so with a view to identifying some of the difficulties underlying his understanding of sociology as a historical practice. [ABSTRACT FROM AUTHOR]