ABSTRACT
This chapter focuses on the critique and demise of the dualist portrait and examines the impact of new collaborative practices and the deflation of singular authorship on the development of portraiture. It describes the work of Andy Warhol, Art & Language, and Mary Kelly, in particular, all of whose work is united by the use of allegory and its principles of fragmentation, appropriation, superimposition, and the openness to meaning. These allegorical principles pose as alternatives to notions of originality, singularity, and immutability that are constitutive of dualist artistic models. Warhol's practice is widely theorised in anti-dualist terms, mostly due to the fact that he distanced his practice from the expressive individualism of modernist approaches to art. He missed out on an even more radical form of portraiture, one that resists notions of the honorific through the assimilation of singular artistic subjectivities into a genuine collective subjectivity and collaborative practice.
