The Representation of Packaging Design’s Functions in the Contemporary Artistic Practices

Document Type : Original Article

Author

Assistant Professor of Graphic Design, Visual Art School, Art University of Isfahan, Isfahan, Iran

Abstract

Packaging design has become an integral part of our daily lives, influencing everything from our choice of products on store shelves to the disposal of emptied packages. This pervasive presence of packaging design has captured the interest of contemporary artists, especially those active in the latter half of the twentieth century, who have sought to create art inspired by the significance of packaging through critical and cultural perspectives.The primary objective of this research is to investigate the representation of diverse dimensions of packaging design within the context of contemporary art. This inquiry arises from the recognition that the multifaceted aspects of packaging design have been increasingly acknowledged and defined by the global industry. This study was meticulously designed to investigate the various sources of inspiration for contemporary artists engaged in the domain of packaging design, grounded in a comprehensive framework of packaging design principles. It is important to emphasize that there are five critical multi-functional dimensions of packaging design: safety, ergonomics, logistics, sustainability, and marketing. This study aims to elucidate the content of packaging design within the context of contemporary art. To achieve this objective, a deliberate selection of 24 artworks has been made for a qualitative analysis, focusing on the aforementioned five functions inherent to packaging design.The findings indicate that contemporary artists have predominantly overlooked the ergonomic and safety aspects of packaging design. In contrast, variables such as sustainability, marketing, and to a certain degree logistics have garnered significantly more attention within artistic practices. Furthermore, early contemporary artworks were predominantly conceived through a critical lens, emphasizing social critique and artistic commentary. In contrast, later works shifted their focus toward the cultural and economic dimensions of packaging design, reflecting a growing awareness of the material conditions and market influences that shape artistic production and consumption.
 
 
 

Keywords

Main Subjects

Smiley face

References

[1] E. Lucie-Smith, “Movement in art since 1945: issues and concepts,” Trans. A. Sami-Azar, Nazar Publication, Tehran 2004. (In Persian)
[2] A. Azzi, D. Battini, A. Persona, and F. Sgarbossa, “Packaging Design: General Framework and Research Agenda,” Packaging Technology and Science, vol. 25(8) pp. 435–456, 2012. https://doi.org/10.1002/pts.993
[3] M. Zaryabi, S. N. Emamifar, “Content Analysis of Scientific Articles on Packaging Design in Iran. Packaging Science and Art”, Vol.16(63) pp. 59-74, 2026. (In Persian) https://doi.org/10.47176/packaging.2026.1248
[4] M. Zaryabi, S. N. Emamifar, “Content Analysis of Articles in the Quarterly Journal of Packaging science and art (Issues 1 to 59)”, Packaging Science and Art, Vol. 16)61) pp. 21-30, 2025. (In Persian) https://dor.isc.ac/dor/20.1001.1.22286675.1404.16.61.3.7
[5] M. C. Favaro, A. Y.  S. Duarte, and F. G. Dedini, “Analysis of the Approach on Usability and Ergonomics in Handling and Transporting Packaging,” The Scientific World Journal, vol. 4 pp. 476-487, 2014. https://www.davidpublisher.com/Public/uploads/Contribute/5513676987ae6.pdf
[6] Ch. Liu, M. R. Samsudin, and Y. Zou, “The Multidimensional Impact of Packaging Design on Purchase Intention: A Systematic Hybrid Review,” Humanities and Social Sciences Communications, vol. 12, No. 785, 2025. <https://doi.org/10.1057/s41599-025-05122-1>.
 [7] E. Moradi Sanjani, B. Bahrami Ghasr, & H. Norouzi Ghara Gheshlagh, “Culture-Oriented Packaging in Handicrafts Based on Clifford Geertz’s Interpretive Theory of Culture,” Packaging Science and Art, Vol 16. (62) pp. 43–57, 2025. (In Persian) https://dor.isc.ac/dor/20.1001.1.22286675.1404.16.62.4.0
[8] A. Nazari, “Analysis of Handicrafts and their Imitation as Product Packaging Based on the Theory of Semantic Rotation and Human-Centered Design by Klaus Krippendorff’ Packaging Science and Art, Vol 16. (63 pp. 13-28, 2026. (In Persian) https://doi.org/10.47176/packaging.2026.1240
[9] M. Zaryabi, “The Impact of Islamic Iranian Design Representation on Saffron Packaging in the Communication Process with the Audience,” Packaging Science and Art, 14(56) pp. 13-22, 2024. (In Persian) https://dor.isc.ac/dor/20.1001.1.22286675.1402.14.56.2.2
[10] J. G. Arca, A. Trinidad González-Portela Garrido, and J. C. Prado, “‛packaging logistics’ for improving performance in supply chains: the role of meta-standards implementation”, Production, vol. 26 (2) pp. 261-272, 2016. https://doi.org/10.1590/0103-6513.184114
[11] I. D. Ibrahim, Y. Hamam, E. R. Sadiku, J. M. Ndambuki, W. K. Kupolati, T. Jamiru, A. A. Eze, and J. Snyman, “Need for Sustainable Packaging: An Overview,” Polymers, vol. 14 (20), no. 4458, 2022. https://doi.org/10.3390/polym14204458
[12] L. Fitzmaurice, “Leo Fitzmaurice’s Personal Website,” http://www.leofitzmaurice.com, 2025.
[13] G. Turk, “Gavin Turk’s Personal Website,” https://www.gavinturk.com, 2025.
[14] R. Herron, “Russel Herron’s Personal Website,” https://www.russellherron.com, 2025.
[15] S. Hodge, “Sam Hodge’s Personal Website,” https://www.samhodge.co.uk, 2025.
[16] M. Rush, “New Media in Late 20th-Century Art,” Trans. B. Roushani, Nazar Publication, Tehran, 2010. (In Persian)
[17] A. Sami-Azar, “Conceptual Revolution,” Nazar Publication, Tehran, 2011. (In Persian)
[18] H. J. Smagula, “Currents: Contemporary Directions in the Visual Arts”, Trans. F. Ghabraee, Cultural Research Bureau publishing house [Daftar-e Pazhoohesh haye Farhangi], Tehran, 2002. (In Persian)
[19] M. Archer, “Art Since 1960,” Trans. Katayon Yousefi, Herfeh Honarmand, Tehran, 2009. (In Persian)
[20] D. Thompson, “The $12 Million Stuffed Shark: the curious economics of contemporary art”, Trans. A. Zahraei, Bidgol Publishing, Tehran, 2019. (In Persian)
[21] A. Cordeiro, M. Hussain, T. Ramachandran, N. Beemkumar, R. Kumar, A. Karthikeyan, V. K. Bupesh Raja, Dh. N. Thatoi, A. Mahapatro, J. Nanda, Ch. Prakash, and A.Y. Patil, “Advancements in Packaging Materials: Trends, Sustainability, and Future Prospects,” Circular Economy and Sustainability, vol. 5 pp. 2959–2990, 2025. https://rdcu.be/eVzxz
[22] S. Toulmin, R. Rieke, and A. Janik. “An introduction to reasoning”, Macmillan, New York, 1979.
[23] Ch. V. Javacheff, and J-C. M. Denat, “Christo and Jeanne-Claude Personal Website,” https://christojeanneclaude.net, 2025.
 [24] J. Liu, Sh. Xin, X. Gao, K. Gao, K. Xu, B. Chen, and Ch. Tu, “Computational Object-Wrapping Rope Nets,” ACM Trans. Graph, vol. 41 (1) pp. 1–16, 2021.  https://doi.org/10.1145/3476829
[25] A. H. McKinlay, “Transport Packaging,” in the Wiley Encyclopedia of Packaging Technology, Ed. by K. L. Yam, Wiley, pp. 1241-245, 2009.
[26] J. Ohlinger, “Netting, Plastic,” in the Wiley Encyclopedia of Packaging Technology, Ed. by K. L. Yam, Wiley, pp. 818-19, 2009.
 [27] M. Tveit, “May Tveit’s Personal Website,” https://www.maytveit.com/work-/universal-boxes, 2025.
[28] S. Hodge, “ Sam Hodge’s Unfolding Project,” https://www.samhodge.co.uk/unfolding/dn1he1tmc8qvp3nphos3q7a36hfhig, 2025.
[29] M. Galley-Taylor, A. Ferguson, and G. Hayward. “Role of Standard in Design,” in Handbook of Human Factors and Ergonomics in Consumer Product Design, 2 Vol, Ed. by W. Karwowski, M. Soares, and N. A. Stanton, CRC Press, pp. 119-132, 2011.
[30] D. Cateforis, “May Tveit: Universal Boxes,” [a wall text in the gallery]. Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, Kansas, October 19, 2017 – January 28, 2018.
[31] L. C. Berman, “the Interview with Sam Hodge,” Reflections on Color and Printmaking Website, https://www.reflectionsoncolor.com/interviews/sam-hodge, 2025.
[32] N. O. Ubogu, “Anatsui’a Mixed Media Work: Promoting Socio-Economic Development through Modern Art,” International Journal of Development Strategies in Humanities, Management and Social Sciences, vol. 9 (2): pp. 71-79, 2019.
[33] L. Fitzmaurice, “Enjoy Civic Life [Exhibition guide],” Humber Street Gallery / Absolutely Cultured, Hull, UK, 2021.
[34] M. Redoutey, A. Roy, and E. T. Filipov, “Pop-up kirigami for stiff, dome-like structures,” International Journal of Solids and Structure, vol. 229, no. 111140, 2021,<https://doi.org/10.1016/j.ijsolstr.2021.111140 >
[35] Ch. Rivituso, and M. Bastiani, “This Italian Instagram Is Turning Fast Food Wrappers into Iconic Handbags [Interview]” By L. Satenstein, Vogue, https://www.vogue.com/article/camera60studio-mcdonalds-amazon-iconic-bags-chiara-rivituso-matteo-bastiani, 2020.
[36] S. F. Sia, “A case study of Brillo Box by Andy Warhol as a work of art [Bachelor's thesis],” Universiti Malaysia Sarawak, Malaysia, 2018.
[37] D. Swindells, “History of Art: Gavin Turk. Introductory essay by James Putnam,” Mimmo Scognamiglio Artecontemporanea [Exhibition], November 24, 2017 – February 15, 2018.
[38] J. Th. McGrath, “Body, subject, self: the Art of Piero Manzoni [Doctoral dissertation],” Harvard University, 2014.
[39] K. R. Dörnyei, “Limited edition packaging: objectives, implementations and related marketing mix decisions of a scarcity product tactic,” Journal of Consumer Marketing, vol. 37(6), pp. 617–627, 2020 https://doi.org/ 10.1108/jcm-03-2019-3105
[40] Artlyst, “Saatchi New Sensations Artists to Design Absolut Bottle Art,” https://artlyst.com/news/saatchi-new-sensations-artists-to-design-absolut-bottle-art/, 2025.
 [41] MPE: Metal Packaging Euroupe , “Can Collecting: How functional packaging can become a collector’s item,” https://metalpackagingeurope.org/article/can-collecting-how-functional-packaging-can-become-collectors-item, 2025.
[42] F. Errington, D. Gewertz, and T. Fujikura, “The noodle narratives: the global rise of an industrial food into the twenty-first century,” University of California Press, 2013.
[43] Cup Noodles Museum, “Instant Noodles Tunnel,” https://www.cupnoodles-museum.jp/en/osaka_ikeda/attractions/tunnel/, 2025.
[44] “Guinness World Records 2015,” Guinness World Records Limited, 2014.
[45] P. Gartmann, “Peter Gartmann’s Personal Website,” https://petergartmann.ch/peter-gartmann-christo-wrapped-trees/, 2025.
[46] H. Cotter, “A Million Pieces of Home,” The New York Times, 8 Feb 2013, https://www.nytimes.com/2013/02/10/arts/design/a-million-pieces-of-home-el-anatsui-at-brooklyn-museum.html, 2025.
[47] Digital Synopsis: Design, Advertising & Creative Inspiration, “Japanese Artist Turns Product Packaging into Amazing Artworks,” https://digitalsynopsis.com/design/product-packaging-turned-into-art/, 2025.
 [48] The Museum of Modern Art, “Andy Warhol,” https://www.moma.org/collection/works/79809?, 2025.
 [49] Ben Brown Fine Arts Gallery, “Gevin Tur’s Rotrophydhia, 2017”. https://www.benbrownfinearts.com/artworks/62939-gavin-turk-rotrophydhian-2017/, 2017.
[50] Artnet, “Piero Manzoni,” https://www.artnet.com/artists/piero-manzoni/, 2025.
[51] Absolut Vodka, “Absolut Collaboraations,” https://www.absolut.com/, 2025.
Packaging Science and Art
Volume 16, Issue 64 - Serial Number 64
Serial number 64, Winter 2026
May 2026
Pages 35-56

Files

History

  • Receive Date: 21 December 2025
  • Revise Date: 22 February 2026
  • Accept Date: 18 May 2026
  • Publish Date: 05 June 2026

Share

How to cite

Statistics