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Jennifer Bartlett, Conceptual Painter on a Vast Scale, Dies at 81

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Jennifer Bartlett, a New York artist whose Conceptual paintings executed on one-foot-square white enameled steel plates (inspired by the city’s subways) blossomed into “Rhapsody,” a landmark extravaganza of painting more than 153 feet long, died on July 25 at her home in Amagansett, N.Y. She was 81.

Her death was jointly announced by her New York representatives, the Paula Cooper Gallery and the Marianne Boesky Gallery.

Her daughter, Alice Carrière, said that while Ms. Bartlett had struggled with dementia, the cause of death was acute myeloid leukemia, diagnosed in early July.

Ms. Bartlett was an unrepentant maverick who started out as a fringe member of the post-Minimalist generation, Conceptual Art Division, devising mathematical or geometric systems that she need only execute, without further aesthetic decisions. She characterized this as a “What if?” approach.

With “Rhapsody,” an important turning point in late-20th-century American art, Ms. Bartlett integrated Conceptualism’s cerebral style with her medium of choice, painting — often to the chagrin of artists on both sides of the painting/non-painting aisle. She also breached the wall separating abstraction and representation, as did painters like Neil Jenney, Lois Lane, Susan Rothenberg and Joe Zucker. But with “Rhapsody,” the break was epic, noisy and permissive.

The work was first exhibited in 1976 at the Paula Cooper Gallery in SoHo, where its 987 plates occupied all the available wall space. Later, to the surprise of many, it seemed tailor-made for the enormous atrium of the Museum of Modern Art, whose collection it entered in 2005, a gift from the architect and collector Edward R. Broida.

Reviewing “Rhapsody” in The New York Times, the English critic John Russell called it “the most ambitious single work of new art that has come my way since I started to live in New York.” It summed up aspects of Pop, Minimalism, and Conceptual and process art, while also opening art anew to images, narrative, repeating patterns, appropriation and stark juxtapositions that continue to inform painting.

Its images span numerous styles, from photorealist to naïve, with several modernist ones in between. It explores line, shape and color as ends in themselves, while also laying out the simple themes that would preoccupy Ms. Bartlett for the rest of her life: tree, mountain, house and ocean.

Each steel plate in “Rhapsody” was printed with a grid of quarter-inch squares, to which she added dots according to whatever system she had set up, sometimes with results that seemed computer-generated.

She characterized the work as a “conversation” — “in the sense that you start explaining one thing and then drift off into another subject to explain by analogy and then come back again.” But it is a tumultuous one, full of interruptions and arguments and, it seems, with everyone talking at once.

“Rhapsody” made Ms. Bartlett a star, though it was not universally loved. Indeed she had doubts of her own, especially since she did not see it complete until it was installed at Paula Cooper. She worried, she told the writer Calvin Tomkins for a 1985 profile in The New Yorker, that the work might be the worst idea she had ever had. The title “Rhapsody,” suggested by a friend, “was so awful I liked it,” she said.

“The word implied something bombastic and overambitious, which seemed accurate enough,” Mr. Tomkins quoted her as saying.

She liked to recount, as she did in a 2011 oral history interview for the Archives of American Art, how one prominent New York curator had said of her dotted surfaces, “That’s not painting, that’s knitting.” (The words echoed Truman Capote’s dismissal of Jack Kerouac’s “spontaneous” prose — “That’s not writing, that’s typing.”)

In the New York of the 1970s and ’80s, Ms. Bartlett was one of the first artists of her generation to live off her work, which she did sometimes lavishly and sometimes not — budget was not part of her vocabulary — while often helping friends and family members in need. She was also one of the first to work directly with out-of-town dealers rather than through her New York representatives.

When New York’s attention faded in the 1990s, she developed an extensive network of galleries in other cities, where she mounted scores of shows of new work. At Locks Gallery in Philadelphia alone, she had over 20 solo shows from 1994 to 2021, usually accompanied by catalogs.

Ms. Bartlett took a 20-year hiatus from showing at Paula Cooper beginning in 1996; during that period she rarely showed in New York and, when she did, usually hopped from gallery to gallery. Her work seemed more popular — and salable — outside the New York art world. In 2016, Ms. Bartlett resumed showing with Ms. Cooper, who joined forces with Ms. Boesky in 2018.

Ms. Bartlett was a stylishly dressed, opinionated, prodigiously prolific artist. Despite seeming to spend a lot of time lying on a couch with a cigarette in one hand and a drink in the other, she said she would go crazy if she couldn’t work. And work she did: painting, printmaking and drawing, especially in pastels, and designing furniture, glassware and jewelry, with limited forays into set and costume design.

With all that, she found time to read voraciously; give lengthy, entertaining interviews; write an autobiographical novel, “A History of the Universe”; and play a big part in the redesign and furnishing of three substantial live-work residences in New York City: two in Lower Manhattan — a big loft on Lafayette Street and a cast concrete industrial building on Charles Street (to which she added an intricate garden designed with Madison Cox and a top-floor lap pool) — and one in Brooklyn, a former union hall in Fort Greene, whose ambitious specimen-tree garden featured large rocks trucked in on a flatbed.

During her marriage to the German actor Mathieu Carrière, from 1983 to 1993, she lived half the year in a large Paris apartment — furnished almost entirely in modernist designs by the Finnish architect Alvar Aalto — in a building where “Last Tango in Paris” was filmed, as she rarely failed to tell anyone who visited.

Ms. Bartlett was as systematic in her life as in her art. Arriving in New York in the late 1960s, she sidestepped bohemianism, instead wearing pearls, sweater sets and poodle skirts in tartan wool, whose plaids would frequently figure in paintings as real-life grids. For a long period, starting in the late 1970s, she wore only the minimalist fashions of Zoran and, later, those of Ronaldus Shamask. Almost without variation she wore her hair short or bobbed with bangs.

She loved lists; her novel incorporated several. At the beginning of her career, she made lists of art ideas and then marked the ones that she thought other artists “owned.” And, in her slightly brassy, ironic monotone, she often talked lists.

At the start of a 1985 interview, Ms. Bartlett’s friend and fellow painter Elizabeth Murray, asked her what had been on her mind when they met in 1962 as students at Mills College in Oakland, Calif. She replied, “Being an artist, Ed Bartlett, Bach cello suites, Cézanne, getting into graduate school, getting to New York, Albert Camus, James Joyce.”

She was born Jennifer Ann Losch in Long Beach, Calif., on March 14, 1941, to Edward and Joanne (Chaffee) Losch. Her father was an entrepreneur whose main business was a pipeline construction company; her mother had attended the Otis Art Institute in Los Angeles and worked as a fashion illustrator until she had children.

Jennifer, the eldest of four, was precocious. She drew constantly, beginning in childhood; loved the ocean and swam in it regularly (she also drew large renderings of sea creatures); found inspiration in her mother’s single art book, on French Post-Impressionism; and was thrilled by a Van Gogh exhibition she saw in Los Angeles. She emerged from high school determined to be a painter.

After graduating from Mills in 1964, Ms. Bartlett married Edward Bartlett, a Stanford graduate, and the two went to Yale for graduate school, he in medicine and she in art. (They divorced in 1972.) In the Yale art department, current students, recent graduates and their friends included some of the most ambitious and competitive artists of her generation: Brice Marden, Richard Serra, Joel Shapiro, Chuck Close, Lynda Benglis and Nancy Graves. After moving to Greene Street in SoHo in the late 1960s, she became friends with the artists Joe Zucker, Jonathan Borofsky, John Torreano, Joe Brainard and Alan Saret, who staged her first solo show in New York in his Spring Street loft.

When she arrived in New York, Ms. Bartlett, inspired by the art of the leading Conceptualist Sol LeWitt, was developing systems on graph paper, which she usually damaged or wore out. One day it occurred to her that New York City subway signs “withstood a lot of punishment,” she said in her Archives interview. They suggested, she said, “a hard grid paper that was impervious to me.”

The 12-inch-square plates based on the signs had the added convenience of being small units that were easy to work on, pack and transport, but that could also assume monumental scale when installed. She liked the enameled steel’s enduring “freshness,” she said; it would not age physically or look dated. Once she worked out the production of the steel plates with a small fabricator in New Jersey, she destroyed her previous paintings.

Her gridded plates represented Ms. Bartlett’s consuming interest in the mechanics of painting, and she would use them for the rest of her life, as in two more epic plate pieces, “Recitative” (2007) and “Song” (2009-10).

She also expanded her materials. Her next big project after “Rhapsody” was “In the Garden,” a suite of nearly 200 drawings of a decrepit garden behind a small villa in Nice, France, where she spent the winter of 1979-80. These works became the basis for large paintings — on plates, oil on canvas and enamel on glass — and several different kinds of prints.

“In the Garden” was also important because Ms. Bartlett worked from life, in particular her immediate surroundings, including, eventually, her studios, her homes and her own gardens. The 1991-92 “Air: 24 Hours” consists of 24 large canvases, each depicting one of these locations at a particular hour of the day. She depicted her living spaces once again in 1992-93 with “24 Hours: Elegy,” usually including a garment or a toy belonging to her daughter. In these works, dense buildups of hand-painted grids create a granular atmosphere reminiscent of those created by Georges Seurat’s dots.

In 2012, a hospitalization of several weeks — caused by what her daughter, Ms. Carrière, described as “a series of symptoms that never quite coalesced into a diagnosis” — resulted in the “Hospital Paintings,” an uncharacteristically stark, realistic group of 10 canvases. Each was disrupted by a thick, arbitrary line of color running edge to edge.

In addition to her daughter, Ms. Bartlett is survived by her sister, Julie Losch Matsumoto.

Ms. Bartlett, insuperably confident and independent, was often asked about her view of feminism, as she was in 2011 for the Archives of American Art. In that instance she answered: “I’m not naturally the feminist type. I just wanted to be the best artist.”

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‘Mamma Mia’ Cast: Where Are They Now?

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Jingle Ball performer Jax is sharing her gifts of singing, songwriting — and sweaters

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There will be some pretty cool icebreakers at this holiday concert.

Long Island native Jax will be playing Santa at iHeartRadio Z100’s Jingle Ball — by doling out sweaters she crafted to her fellow performers.

It’s the “American Idol” alum’s first time performing at Madison Square Garden — and meeting some of the notable names in the Dec. 9 musical lineup.

“In efforts to try and make friends, I am really creepy and I made a bunch of ugly sweaters with people’s names on them,” the 26-year-old TikTok sensation, whose real name is Jackie Miskanic, told The Post.

“Demi Lovato’s … it says, ‘It’s beginning to look Lovato like Christmas.’”

There are others on her nice list.

Jax is gifting her fellow “Jingle Ball” performers, like Demi Lovato, with homemade sweaters.

“I really want to meet Lizzo. She’s on the same label as me, which is cool,” she gushed. “Same with Jack Harlow. I really love him. Kid Laroi, ‘Laroi-Dolph the Red-Nosed Reindeer.’”

After the show, the pop star — who has over 12 million followers on TikTok — will likely be at one of her favorite watering holes in the city, Bar Nine in Hell’s Kitchen.

And she will “probably” belt out a karaoke-style version of her hit “Victoria’s Secret.” The anthem promoting body positivity, which she wrote for the girl she babysits for, reached No. 35 on the Billboard Hot 100 list in October.

A picture of Lizzo performing at the iHeartRadio's Z100 Jingle Ball 2019.
“I really want to meet Lizzo. She’s on the same label as me, which is cool,” Jax gushed.

A picture of Demi Lovato on the red carpet at the 2022 UNICEF Gala at The Glasshouse.
Demi Lovato attended the 2022 UNICEF Gala at The Glasshouse.

Her path to performing at The Garden  — the top of her bucket list — has not been a smooth one. At 18, she was diagnosed with thyroid cancer and beat it — twice.

“Multiple doctors told me it was a cold,” she recalled. “I was like, ‘I feel this bump here,’ and they’re like, ‘Ah, swollen lymph nodes.’”

Thanks to her mom’s persistence, she went for an ultrasound and discovered she had 18 tumors, 12 of which were cancerous.

Right after receiving the devastating diagnosis, she had to perform at her first sold-out show — at Webster Hall in the East Village. “And I was like, ‘What’s up New York? … Things are great,’” laughed Jax, who has been cancer-free since 2017.

Jax performed during the   iHeartRadio 106.1 KISS FM's Jingle Ball 2022.
Jax performed during the iHeartRadio 106.1 KISS FM’s Jingle Ball in Nov. 2022.
Getty Images for iHeartRadio

After undergoing two surgeries, which included having her thyroid removed, she wasn’t certain her voice would return or be the same.

“I was relearning how to sing and use the muscles in my face and neck,” she said. “When I went to go brush my teeth, I would hit my face with the toothbrush because … when they sliced that twice,” she said, pointing to a scar on her neck, “all the nerves up here kind of shifted.”

During her treatment, she relocated from East Brunswick, N.J., where she moved when she was 11, to Los Angeles, and began writing music.

Through the COVID quarantine, she penned songs from other people’s perspectives and posted them on TikTok.

Jax
The pop star’s hit, “Victoria’s Secret,” reached No. 35 on the Billboard Hot 100 list.

In November 2020, her ballad “Stacy’s Mom from Stacy’s Mom’s Perspective,” an homage to Fountains of Wayne’s “Stacy’s Mom,” went viral overnight.

Jax credits her parents — both Sheepshead Bay, Brooklyn natives who will be in the audience at MSG — for their unwavering support. “I’m so happy watching them, cause they’ve seen me go through so much,” she said.

Her father, John, a retired fireman at Engine Co. 276 in Midwood, Brooklyn, was injured on Sept. 11 and had to leave the job shortly after, which she called a “blessing in disguise.”

Singer Jax and her parents John and Jill Miskanic
Jax and her parents, John and Jill Miskanic.

“He basically took on the dadager role,” she said of her father’s involvement in her music. “Driving me to every vocal lesson, every audition, every band practice, lugging amps and equipment around for me and showing up to my open mic nights at random bars, showing his ID so I could get in.”

Jax also created sweaters for her parents to wear at Jingle Ball. For her mom, Jill, a retired middle school teacher at IS 234, in Homecrest, Brooklyn, she made two.

“One says, ‘Look, Mom, I’m playing The Garden,’ with her face on it,” she said.

The other is playfully written in her thick Brooklyn accent, and says, “That’s my dawtuh.”

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Rami Malek and Lea Seydoux put on a VERY cosy display on night out in LA

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Rami Malek and his No Time To Die co-star Lea Seydoux put on a very cosy display as they embraced after an intimate sushi dinner in LA on Tuesday.

The Oscar winner, 41, who played villain Lyutsifer Safin in the 2021 James Bond movie, and the French actress, 37, who portrayed Dr. Madeleine Swann, were in high spirits as they hugged and posed for photos on Sunset Boulevard, after a two hour meal.

Bohemian Rhapsody star Rami – who is dating actress Lucy Boynton, 28 – looked dapper in a black shirt and trousers as he laughed and joked with Lea as they left the eaterie arm-in-arm, with the pair hugging as they walked down the street.

Blue Is The Warmest Colour’s Lea – who has been in a relationship with Andre Meyer since 2013 – wore a striking mustard blazer and matching slacks, paired with a black woolen hat and boots as she reciprocated Rami’s affections with an embrace.

Hug: The Oscar winner, 41, who played villain Lyutsifer Safin in the 2021 James Bond movie, and the French actress,37. who portrayed Dr. Madeleine Swann, were in high spirits as they hugged

Close: Rami Malek and his No Time To Die co-star Lea Seydoux put on a very cosy display as they embraced after an intimate sushi dinner in LA on Tuesday

Her tresses were pulled back from her face and she showed off her radiant complexion by going make-up free. 

A happy Lea was also seen touching Rami’s hair as they enjoyed an animated chat in the street.

As the night continued, Rami kneeled on the pavement to take a photo of Lea with her Louis Vuitton billboard in the background, with the beauty striking some sultry poses on a vintage car.

The pair’s photoshoot then moved to some bushes, where Lea posed on a wall before grabbing onto a stone pillar.

Snap happy: Rami was seen kneeling on the pavement to take a photo of Lea with her Louis Vuitton billboard in the background

Snap happy: Rami was seen kneeling on the pavement to take a photo of Lea with her Louis Vuitton billboard in the background

Terrifying: The cosy display was a far cry from when the pair's characters  (Malek pictured as Lyutsifer Safin)  met on screen in No Time To Die

Tension: Safin murdered Madeleine's mother in revenge for her father's killing of his entire family - but spared her life

Terrifying: The cosy display was a far cry from when the pair’s characters (L Lyutsifer Safin and R Madeleine Swann) met on screen in No Time To Die 

Dinner date: The pair smiled as they celebrated their fun night out on the town

Smile: The acclaimed actors were all smiles on the night

Dinner date: The pair smiled as they celebrated their fun night out on the town

At one with nature: The pair's photoshoot then moved to some bushes, where Lea posed on a wall before grabbing onto a stone pillar

At one with nature: The pair’s photoshoot then moved to some bushes, where Lea posed on a wall before grabbing onto a stone pillar

Haha: Rami couldn't help but cackle as he snapped yet another photo of Lea in the street

Haha: Rami couldn’t help but cackle as he snapped yet another photo of Lea in the street

 An onlooker told DailyMail.com: ‘Rami and Lea looked extremely close and were having a great night.

‘They were smiling and looked so happy in each other’s company. After leaving the strip mall restaurant they walked along the street still linking arms.  

‘Rami was taking his time with the pictures and appeared to want them to look perfect. She did a variety of poses and at one point skipped in front of him.

Giddy: Rami and Lea were seen laughing and chatting after their two hour dinner

Outing: The pair were stepping out in West Hollywood for the night

Giddy: Rami and Lea were seen laughing and chatting after their two hour dinner

Strike a pose: Rami became Lea's personal photographer as she struck a pose

Strike a pose: Rami became Lea’s personal photographer as she struck a pose

Embrace: Lea wrapped an arm around Rami as they enjoyed their night out in LA

Smile: Lea embraced Rami as they left the restaurant

Embrace: Lea wrapped an arm around Rami as they enjoyed their night out in LA

Alfresco: Lea was seen posing with a wooden statue as Rami snapped some photos

Alfresco: Lea was seen posing with a wooden statue as Rami snapped some photos

‘They clearly enjoy each other’s company a lot and seemed to be very friendly.’

The pair continued their West Hollywood night out by visiting celebrity hotspot, The Sunset Tower Hotel.

The cosy display was a far cry from when the pair’s characters met on screen in No Time To Die. 

Pose: Lea brought out her inner model as she posed up on a car

Pose: Lea brought out her inner model as she posed up on a car

Fun night: The pair were seen larking around in the street as they headed to the Sunset Tower Hotel

Off they go: The good times kept rolling for the Hollywood pair as they hugged

Fun night: The pair were seen larking around in the street as they headed to the Sunset Tower Hotel

Chat: Lea went to link arms with the Mr Robot star as they walked in WeHo

Chat: Lea went to link arms with the Mr Robot star as they walked in WeHo

Happy: The pair looked to have had a good catch-up over dinner as they strolled out

Smile: Lea looked positively chipper as she walked along

Happy: The pair looked to have had a good catch-up over dinner as they strolled out

Dedicated: Rami fell to his knees as he snapped photos of Lea in the shrubbery

Dedicated: Rami fell to his knees as he snapped photos of Lea in the shrubbery

Night on the tiles: The actors were seen laughing as they continued their LA night out

Delight: Lea cackled as she looked at Rami's phone

Night on the tiles: The actors were seen laughing as they continued their LA night out

Safin murdered Madeleine’s mother in revenge for her father’s killing of his entire family –  but spared her life.

Decades later the terrorist leader and scientist kidnapped Madeleine and the daughter she shared with James Bond, in a bid to destroy 007’s hopes of a happy future.

Despite Bond foiling his plan to unleash a bio-weapon, Safin infects him with a virus designed to specifically target Madeleine and their daughter, meaning he will never be able to be with them again. 

Haha: Rami hysterically laughed as he attempted to snap another photo of Lea

Haha: Rami hysterically laughed as he attempted to snap another photo of Lea

Stifling laughter: The pair continued to crack up with laughter as they left the eaterie

Stifling laughter: The pair continued to crack up with laughter as they left the eaterie

Stifling laughter: The pair continued to crack up with laughter as they left the eaterie

Pose: Lea showed off her sultry posing in the snap taken by Rami

Pose: Lea showed off her sultry posing in the snap taken by Rami

Off they go: The actors looked in great spirits as they walked down the street together

Off they go: The actors looked in great spirits as they walked down the street together

Off they go: The actors looked in great spirits as they walked down the street together 

Siren: Lea struck a coquettish pose as Rami took a fun photo of her

Siren: Lea struck a coquettish pose as Rami took a fun photo of her 

Insta time: Rami took some lovely photos of Lea on Sunset Boulevard

Insta time: Rami took some lovely photos of Lea on Sunset Boulevard

Fun: The stars looked delighted as they larked around together on the night

Fun: The stars looked delighted as they larked around together on the night

Scenic: Lea smiled as she posed up a storm for her Hollywood pal

Scenic: Lea smiled as she posed up a storm for her Hollywood pal

Details: Rami looked focused as he took some fun photos of Lea on the night

Details: Rami looked focused as he took some fun photos of Lea on the night

Details: Rami looked focused as he took some fun photos of Lea on the night

Photoshoot time: The co-stars showed they were having a great time as they larked around in the street

Pose: The stars looked focused as they got into their shoot

Photoshoot time: The co-stars showed they were having a great time as they larked around in the street

Rami confirmed his romance with Brit actress Lucy after meeting on the set of Bohemian Rhapsody in 2017, with the Mr. Robot star taking on the role of Queen lead singer Freddie Mercury opposite the Sing Street actress as Freddie’s former love interest Mary Austin.

The two clicked quickly, but kept their relationship mostly under wraps until the 2019 Academy Awards ceremonies.

That’s when the Oscar winner kissed his co-star before he headed to the stage to receive his Best Actor award.

In his acceptance speech the Egyptian-American actor singled out Lucy as ‘the heart of this film.’

Lol: Lea looked delighted as she struck a sultry pose for the camera

Lol: Lea looked delighted as she struck a sultry pose for the camera 

End of an era: The film saw bio-terrorist Safin, decades later, kidnap Madeleine and the daughter she shared with James Bond, in a bid to destroy 007's hopes of a happy future - leading to Bond's death

End of an era: The film saw bio-terrorist Safin, decades later, kidnap Madeleine and the daughter she shared with James Bond, in a bid to destroy 007’s hopes of a happy future – leading to Bond’s death

He said, ‘You are beyond immensely talented. You have captured my heart. Thank you so much.’

In looking back at the moment, The Politician actress said in an interview with You magazine that ‘It sounds so silly but I was really unaware of the public element of that.

‘You’re just absorbing, millisecond by millisecond, what is happening,’ the British beauty explained,’ and then suddenly you hear the applause and you realize it’s been a public moment, which is slightly strange.’

Couple: Rami confirmed his romance with actress Lucy Boynton, 28,  in 2019 after meeting on the set of Bohemian Rhapsody in 2017 (pictured 2020)

Couple: Rami confirmed his romance with actress Lucy Boynton, 28,  in 2019 after meeting on the set of Bohemian Rhapsody in 2017 (pictured 2020)

Low-key love: Meanwhile Lea has maintained a low-key romance with model beau Andre for almost a decade. The pair, who share a five-year-old son, Georges, have only been spotted publicly together on a handful of occasions (pictured 2015)

Low-key love: Meanwhile Lea has maintained a low-key romance with model beau Andre for almost a decade. The pair, who share a five-year-old son, Georges, have only been spotted publicly together on a handful of occasions (pictured 2015)

Couple: The pair were last seen together at Leonardo DiCaprio's 48th birthday party on November 11

Couple: The pair were last seen together at Leonardo DiCaprio’s 48th birthday party on November 11

Both have kept busy with their work. Rami has two films in the works, and Lucy will be seen on the big screen next in the murder-mystery The Pale Blue Eye, and as Marie-Antoinette in The Chevalier.

The pair were last seen together at Leonardo DiCaprio’s 48th birthday party on November 11.

Meanwhile Lea has maintained a low-key romance with model beau Andre for almost a decade. The pair, who share a five-year-old son, Georges, have only been spotted publicly together on a handful of occasions.

On-stage: Rami and Lea are pictured alongside Bond actor Daniel Craig at the No Time To Die world premiere in London in 2021

On-stage: Rami and Lea are pictured alongside Bond actor Daniel Craig at the No Time To Die world premiere in London in 2021

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