This survey of his work establishes Wright as the designer who was most responsible for the shift in taste that made domestic products with a "modern look" popular in the late 1930s.

Russel and Mary Wright: Dragon Rock at Manitoga, explores the home and woodland paths imagined by Russel and Mary Wright in Hudson Valley New York; a modernist haven that allows for ambiguity, and the natural world where the spirit could flourish. In the era of TV dinners and suburban conformity, Russel and Mary Wright were individualists. The Wrights rejected rigid modernism that did not allow for ambiguity, let alone the natural world. Here we find multiple binary factors: New York City and the sublime Hudson Valley landscape, commercial mass production and handmade nuance, Japanese aesthetics and American ideals, queer attraction, and family yearnings. Wright: Dragon Rock at Manitoga traces a journey, beyond an exploration of space, but a way of life, the story of the creation of a haven where the spirit could flourish. Our understanding of the Wrights's architectural, design, and environmental achievements, synthesizes four archives, including the estate of the Wright family, The Center for Photography at Woodstock, The Russel Wright Design Center at Manitoga, and the Russel Wright Papers at Syracuse University. With a clarion voice, we examine this partnership, revealing new understandings and cultural relevance.

"The twentieth century loved machines and the speed they made possible. Speeding cars, trains, and planes promised to conquer space and time; their aerodynamic styling and metal skins embodied a new and modern beauty, one that especially enchanted American designers from the late 1920s through the 1950s. Streamlining became the popular American style for all sorts of objects: from toy scooters to typewriters, from power tools to teakettles." "This book celebrates this beauty as epitomized by the work of Raymond Loewy, Kem Weber, Henry Dreyfuss, Norman Bel Geddes, as well as in works by many lesser-known industrial designers whose products are presented here for the first time. The book also demonstrates the resurgence of interest in streamlining among international vanguard designers from the 1980s to the present." "This volume is illustrated with patent drawings and period photographs showing how these dynamically styled objects were used. The one hundred eighty objects presented here, drawn from the Eric Brill Collection (recently donated to the American Friends of Canada) and supplemented by pieces from the Stewart Collection at the Montreal Museum of Fine Arts, were photographed for this book. A full bibliography, biographies of the designers, and index complete the study."--BOOK JACKET.