A bronze statue of women's rights pioneer Emily Murphy has been stolen from Emily Murphy Park in Edmonton, leaving only her shoes behind. This shocking incident marks what city officials describe as the first theft of artwork from the city’s collection, prompting significant concern among residents and city officials alike.
According to David Turnbull, public arts director of the Edmonton Arts Council, the life-sized statue appeared to have been sliced off at the ankles using a power tool. Along with the statue, which was recently appraised at approximately $250,000, the plaque attached to the stone platform it stood on was also taken. Turnbull expressed his dismay, saying, "Vandalism happens, we’re pretty used to it, but actual theft of artwork from the city collection...this is the first one we’ve had to deal with. So it is pretty shocking." Edmonton Police Services are currently investigating this brazen theft.
Murphy, the first female judge in Alberta and one of the Famous Five women behind the landmark 1929 Persons Case, is recognized for her pivotal role in challenging laws barring women's appointments to the Senate. This case successfully argued for women's legal designation as persons. Despite her significant contributions to women’s rights, Murphy’s legacy is marred by her controversial support for eugenic policies and discriminatory views toward Indigenous peoples. These complex layers to her history make her statue both cherished and contentious.
A local resident named Thomas expressed his bewilderment, stating, "I don’t know how somebody stole a statue and why, but it is kind of odd and disappointing..." Local reactions signal mixed feelings about the statue's significance, highlighting the intersection of admiration for women's rights and the critique of Murphy's historical actions.
Renee Williams, the executive director of the Edmonton Arts Council, echoed concerns about the impact of the theft on the city's cultural fabric. "We hope the statue is found, so we can assess the damage and determine our next steps," she remarked. Williams emphasized the importance of public art, noting, "Our public art collection contributes to the vibrancy of our city and invigorates our public space." She stated the piece was installed by an Edmonton artist back in 1992 and had become part of the community fabric.
This incident is not isolated. Murphy’s statue previously suffered from acts of vandalism, including being splashed with red paint and labeled with the word “racist” as recently as 2021. Turnbull acknowledges this history of conflict surrounding the statue’s presence, admitting, "There is the good and the bad." He noted the need for vigilance, stating, “We are working closely with the city right now to monitor all bronze and public art across the city.”
Murphy’s life exemplifies the strife between historical figures' impacts on societal progress and the darker aspects of their legacies. The theft of her statue brings these discussions to the forefront of public consciousness, and it raises questions about how communities choose to represent and engage with controversial historical figures. Some Edmonton residents expressed their desire for understandable portrayals of Murphy and her contributions to women's rights, acknowledging the entire scope of her legacy.
The president of the Edmonton Arts Council commented on the broader responsibility of maintaining public art, noting, "Public art is so remarkable. It brings vibrancy to the city. It humanizes the built environment we are all living in.” This theft has reignited discussions about the perceived value of public art and its role в stimulating community dialogue about history and representation.
While the Edmonton Police continue to investigate the theft, the hope remains palpable among residents and city officials for the statue's return to its rightful place. City leaders are now facing the dual challenge of addressing the theft and reevaluatThe issue of how to honor complex historical figures within public spaces. It remains to be seen how this theft will influence the future of public art and historical recognition not only in Edmonton but across the country.