Out of the Hollywood spotlight, actor Gene Hackman painted, did Pilates and rode his bike in the Santa Fe, N.M., community where he and his wife, Betsy Arakawa, were woven into the fabric of the local community.
Friends said Hackman came to cherish the simpler life away from paparazzi and hype of the show business machine. In Santa Fe, he made friends, took part in community events and dined at the local eateries.
“He was a pretty low-key individual even though he was someone who had amazing stories to tell about Hollywood and other celebrities,” longtime friend Stuart Ashman said. “He was just a regular guy.”
But this peaceful anonymity did not follow the Oscar winner into death.
Last week, Hackman, 95, and his wife, Betsy Arakawa, 65, were found dead in their home, along with one of their three dogs. Investigators have ruled out carbon monoxide poisoning, but are awaiting toxicology results. They are working to rebuild a timeline of the couple’s final days through phone records, emails and other means.
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The couple was described as private but neighborly by those who got to know them over the years.
Ashman was one of those people — befriending the two-time Oscar winner nearly 30 years ago after the two ended up sitting next to each other at a community arts meeting. Ashman was director of the New Mexico Museum of Arts at the time, while Hackman had a seat on the board of the Georgia O’Keeffe Museum, where he served from 1997 to 2004.
“He told me his name and I said, ‘Of course I know who you are,’” Ashman said. “He just smiled that big smile of his and our friendship went from there.”
For two years, Ashman was Hackman’s part-time egg supplier, gifting him the occasional dozen from the chickens he was raising. One day, Hackman returned the favor with a painted landscape of a tree-lined river. When Ashman initially declined to take it, Hackman politely insisted.
“Gene tells me, ‘You’ve been giving me eggs for two years. I think a painting is a fair trade,’” Ashman recalled.
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The two would also chat it up between Pilates classes, where they shared the same personal instructor.
“She would say, ‘Gene, are you here to work or do you want to visit with Stuart?’” Ashman said laughing.
A landscape painting by Gene Hackman he gifted to his friend Stuart Ashman.
(Courtesy of Stuart Ashman)
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Ashman said Hackman years ago discussed renting a home in the Florida Keys in the winter and possibly meeting up after their vacations, but then the pandemic happened, and the men drifted apart.
Longtime friend Doug Lanham didn’t think of Hackman as a movie star, but as one half of Gene and Betsy, the couple that was always helping in the community.
Their friendship also started out of happenstance. The couple went into his restaurant, Jinja Bar & Bistro, in the early 2000s, and ended up chatting with Lanham and the other owners, Lanham said. The topic of Arakawa’s cooking skills came up.
Lanham invited Arakawa to come by the next day, when the kitchen would be tasting some new recipes. Arakawa apparently had some ideas of her own.
“The next day, here comes Betsy just looking so wonderful and confident,” Lanham said. “And here comes Gene behind Betsy, lugging a cooler with all the food that Betsy was going to prepare for everyone to sample.”
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Eventually, the couple put a financial stake in the restaurant. Over the years, Hackman contributed his artworks that now hang inside, including one large piece that occupies much of a 5-by-13-foot wall.
Initially, Hackman was intimidated at the scale of that piece, Lanham said.
Gene Hackman speaks at the grand opening ceremony of the Georgia O’Keeffe Museum in 1997 in Santa Fe.
(Georgia O’Keeffe Museum)
“You did all these movies that are great and we got this little wall that we want to just put a piece of art on. I never heard you say you can’t do anything,” Lanham said he teased Hackman over a few beers.
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But three weeks later, Hackman called the restaurant owners up to his artist studio. There they found a bunch of tropical leaves hanging from wires on the ceiling that he used as models and on the back wall a large triptych painting of a woman looking out on a sunset in a South Pacific setting.
While Arakawa marveled at the piece once it was shown, Hackman was much more subdued, Lanham said. The reaction from customers was overall positive, but there were also critics.
“You see them crossing their arms and looking at the mural and going, ‘It’s kind of a [Paul] Gauguin, look at the color. And then I’d go, ‘Oh, this is a go-Gene. Look at this color,’” Lanham said.
The couple slowed down in the last few years, according to news reports.
Arakawa and Hackman’s friends Daniel and Barbara Lenihan, along with their son Aaron, told People magazine that Hackman was “essentially kind of home-bound” and had stopped riding his bike around his neighborhood. He had been showing his age in the last few months while his wife was “in perfect health,” the family told the magazine. She tried to keep him active and engaged, including doing puzzles and yoga over Zoom.
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“They seemed like real life partners, really, really close to each other, and they were both incredibly kind,” Aaron Lenihan told People. “They were reserved, but they were real, [and] a lot of fun.”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.
After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.
Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.
The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”
“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”
The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.
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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.
(Refik Anadol Studio for Dataland)
Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”
“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”
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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.
Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.
“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”
“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”
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