This essay describes the emergence of Emily Carr (1871-1945) as a Canadian icon and the rise of her contemporary influence on the West Coastal art of Canada. It first draws upon Carr's biographical accounts to examine how she generates artistic creativity in the West Coastal landscape tradition. In the written narrative of her encounter with Aboriginal culture, she offers an account of her discovery in Aboriginal art of the expression of a purely figural perspective while providing a seemingly current consideration of her epoch—an expression of the larger forces that continue to shape West Coastal art. Alongside this introduction to Carr's constitution of her time, this essay explores the contemporaneity—here defined as the condition of co-existing with others of multiple temporalities—found in a series of conceptually similar exhibitions at the Vancouver Art Gallery. The curators at the Gallery have unrelentingly emphasized Carr's intersection with other artists of different time periods in the larger B.C. artistic world, thus situating Carr's work in the West Coastal art historical tradition while simultaneously producing a potentially new Carr. Each of the artistic events, as established in each exhibition, reveals a creative crisis, which is saliently witnessed in the work of the Salish-Okanagan artist Lawrence Paul Yuxweluptun (b. 1957). In political and historical spheres, he demonstrates West Coastal contemporaneity in the late twentieth century, as initially expressed by Carr. Carr's artistic vision, as expressed in painting and writings, contains an innovative and recollective dimension of the Canadian Victoriana exhibited in expressions of an artist's disjointed yet coalescent relationship with her epoch; in this respect, Carr continues to provide inspiration and invigoration for the renewal of contemporary North American Coastal artistic practices.