Transformation of the academic paradigm of art education in modern conditions

The theoretical and methodological nature of modern art education is considered. A detailed analysis of the problem in question shows that the paradigm based on narrative, until recently a universal tool for the perception of knowledge and its transfer, has ceased to meet the requirements of Ukrainian society regarding education, upbringing and formation of a creative personality in specialized educational institutions. With the approval of the Bologna system in the artistic educational process, we can talk about a paradigm shift. The introduction of a new paradigm of art education, based on cultural and professional competences, not only contributes to increasing the motivation of students' development, but also brings the Ukrainian educational system closer to the European one. The purpose of revising and updating the methodological foundations of art education is, first of all, to increase its quality in the formation of a promising generation of artists capable of revealing new meanings to society, producing new ideas and using new high-tech means of expression. The emergence of a new paradigm is the result of an objective transformation in the middle of art education. The study shows that the general competence of a modern artist is formed in a combination of two theoretical and methodological models: one of which is focused on the acquisition of competences, the second - on the acquisition of knowledge. In each individual case, this duality is enriched by personal and cultural characteristics. During the educational process, it is this model that contributes to the formation of the artistic personality of the student of education, who will be able to find relevant means of expression and take effective actions in the way of building the culture and spirituality of modern Ukrainian society. It is important that this study is the result of not only studying the coverage of the problem in scientific sources, but to a large extent, it is based on the author's own pedagogical experience. The article does not pretend to fully reveal the problem in all aspects, however, the obtained results can become the basis for the formation of fundamental ideas and meaningful directions of art history.