Renée Phillips is the Director of Manhattan Arts International, an author of several books, and a public speaker. She is known as "The Artrepreneur Coach" and provides empowering life and career strategies for creative individuals.

This is an article based on my chapter on Relationships in my book Success Now! For Artists: A Motivational Guide For The Artrepreneur. A longer version appeared in the June 2009 issue of Art Calendar magazine.

As gallery fatality rates increase and art sales decline, building strong, solid relationships is more crucial than ever. It has always been true for any professional an artist can either rise to fame and fortune or fall to anonymity and poverty depending upon with whom he or she associates. I am reminded of Benjamin Franklin’s quote: “ We must, indeed, all hang together, or most assuredly we will all hang separately.”

The art community could be described as a game of musical chairs. The roles of artists, art dealers, critics and collectors are interchangeable and interconnected. The artist is often a curator, the collector has become a consultant and the art dealer may have many roles over the years. Galleries seek the advice of the artists they represent when adding new ones. Many grant givers require letters of endorsements from art leaders. Collectors and curators recommend artists to dealers. Members of the press obtain story leads from other art professionals. Simply stated, the more people you know and who know you, your talent and your abilities, the more your career will flourish.

Building strong ties with others may be the single most valuable part of your career -- as it was for mine. When I arrived in New York City more than 20 years ago with very little capital and no professional experience I decided my goal was to get to know everyone in the art community. To accomplish that I served as a volunteer curator and art writer, learning on the job. I launched an arts organization and held weekly art parties in my apartment and alternative spaces. Before long my network grew and eventually, leading art professionals, celebrities and government officials were attending my events and answering my phone calls. Today, I owe much of my career success to the relationships I have always nurtured.

Christie Scheele, Hazy November on Dune Road, oil on linen, 40" x 70". Christie says, "I cultivate dealer-artist relationships, seeing them as much like other human relationships."

As much as you would like to believe it's all about the art and only the art, I know first hand that many major art world decision makers often select a less talented artist who is professional and sociable than a more talented artist who lacks social and business skills.

It's easy to develop relationships with these basic principles: Hunt (seek out relationships); Farm (cultivate relationships) and Feed (nourish your relationships). A good "hunter" is always searching for new contacts and alliances wherever they go. They establish relationships as a result of searching for mutual benefits. A good "farmer" is a good listener, accepts other people's differences in opinions, and is non-judgmental. He or she is able to interact with different types of people. A good "feeder" invests time and effort in sharing and nurturing relationships with a spirit of generosity. They know when and how to follow up and sustain healthy relationships.

Christie Scheele is a successfully selling New York state artist who takes her profession seriously and says, "With kids, mortgage, two paycheck family. we're not kidding around here." It's not by chance that her art is in numerous private and corporate collections worldwide including Waterford Crystal, Sony Pictures, and Samuel Dorsky Museum of Art, to name a few.

Christie has developed partnerships with many galleries throughout the U.S. because she knows that, "A geographical spread is helpful. I don't, personally, know any artist who makes a living off of only one or two galleries." She adds, "Because I am productive, I have enough work to have ongoing exposure in a number of venues, all of which are viable commercial galleries or private dealers." She says her busiest galleries are: Chace-Randall Gallery in Andes, NY; Asher Neiman Gallery in Redbank, NJ; Van Brunt Gallery in Beacon, NY; and Albert Shahinian Fine Art in Hudson, NY.

She provides what the galleries need and knows that nurturing relationships requires effort, patience and understanding. She says, "I cultivate dealer-artist relationships, seeing them as much like other human relationships -- often wonderfully in sync and other times requiring emotionally fraught effort to iron out a disagreement. As humans, we are all flawed. In this case, it is easy for the relationship to be happy when sales are great, and a bit sour when we hit a dry spell. I try to keep myself on an even keel, in hopes that they will, too. Part of the process is communication, which you need to ease your way into as the relationship progresses, since you want to avoid being seen as a demanding pest."

Christie offers this sage advice, "When you are approaching a gallery for the first time try to keep uppermost in your mind that what you have in common is that you both like the same art -- specifically, the work that they are showing. Focus on this, talk about this, and you will be much less in a stew about feeling the supplicant. If you are engaging and thoughtful, and not just me-me-me-me-me, it can make a difference."

Build Strong Alliances Among Your Peers

An artist needs strong allies. We know that Mary Cassatt spent most of her life in France and allied herself with the Impressionists Manet and Degas early in her career. Jean Arp could not have prospered without his connection with the Blaue Reiter in Munich and various avant-garde groups in Paris, including the surrealists, and the Dadaists in Zürich.

Anique Taylor (www.AniqueTaylor.com) is a pioneering artist who has been at the forefront of building camaraderie among artists and says, "Some of the most gratifying experiences I've had were in establishing neighborhood artist groups: Salute to Women in the Arts; Bergen County & Women's Artist Group, Shandaken; working on developing a gallery by artists for artists such as Arts Upstairs, Phoenicia; and the Catskill Artists Town of Shandaken (CATS) Studio Tour & Art Festival."

Anique's philosophy is one we should all embrace: "What we create as artists is not only our studio work. By helping other artists, reaching out, making connections, we change the climate artists live in." Instead of living in a world of competition and separation Anique chooses to create a world of inspiration and abundance.

She continues, "As artists we tend to focus on personal excellence, career advancement and sales -- which is great. But there can also be wonderful rewards with a wider vision, by creating a nurturing environment for other artists, a climate of abundance in the art communities in which we live."

She offers this insight, "Every time you meet another artist, get their phone number and email. Tend this like your garden. You can put them on a personal phone or email list. You can have an art get together, a salon, an artists' group, a class, a show. Appreciate other artists. They can be a precious source of friendship, a resource for advice, materials, ideas, celebration, commiseration, inspiration, goals. Whatever you can create or imagine - your list is your best tool."

21 Ways to Build Your People Power

• Lift each other up. In the words of Booker T. Washington, "If you want to lift yourself up, lift someone else." Reach out, especially now. Everyone is feeling the economic crunch and this offers us the opportunity to come together, help each other and explore new ways of attracting clients and customers. There is always strength in numbers.
• Look for opportunities. Many houses are being abandoned and retail stores have closed. Many artists now are buying foreclosures and establishing art colonies. Artists are using empty storefronts as exhibition venues.
• Nurture your collectors. Marketing experts claim that it takes five times the effort to acquire new customers than to repeat a sale to an existing customer. They also state 20% of your buyers will produce 80% percent of your sales. So, reach out more often to your buyers and strive to build many long, rewarding relationships with them.
• Build second tier relationships. It is important to reach out to your ultimate buyer but equally important to establish relationships with those they rely on for leads and expertise. Your relationships may also include interior designers, architects, real estate agents, house stagers, corporate buyers and private art dealers. Let them bring the buyers.
• Network outside your circle. Think creatively. Talk to your banker, accountant, dentist, florist and doorman. Ask them for business referrals and do the same for them. My step-father gave me my first lesson on marketing through networking. He was a diet specialist and he told me he built his hefty medical practice getting referrals from his tailor.
• Always be prepared. We often meet new people through life's magical chance encounters. Carry an ample supply of visual "handouts" - postcards, business cards or brochures - that that feature an image of your work.
• Manage your contacts. After you exchange cards with someone, jot down a reminder on the back of that person's card such as where you met, what you discussed and how and when you should follow up. Then record new acquaintances and contacts in a rolodex, data base, or index cards. Set up whatever system works best for you.
• Utilize cyberspace for networking. Join and participate constructively in a social networking site like facebook, LinkedIn or twitter, to expand your contacts and increase exposure. You will have access to people and groups around the world which you otherwise would never meet which leads to the exchange information and numerous opportunities. And, you don't have to leave your studio to do it.
• Go to the top. Offer to become an assistant for an established artist or take a job in a leading gallery. Join the highest level museum membership category you can afford.
• Be active. If you belong to an organization become an enthusiastic member. Volunteer to work on the events or publicity committee that will open opportunities to meet others.
• Diversify and expand your roles. Look for ways to curate, jury, lecture, or write about ceramics.
• Develop your business knowledge and skills. Become a life long student in this area through books, lectures and articles like those in the Manhattan Arts Ezine.
• Offer to assist at an art event. You can overcome your shyness by helping at the information table or check in desk. Become the friendly greeter to others who feel uncomfortable in a crowd.
• Go where the action is. Attend gallery receptions, lectures, symposiums and events held in museums and art centers. Make an effort to talk and make contacts there.
• Become a good friend and matchmaker. Seek opportunities to develop new relationships among people you know and the favors will be returned.
• Be generous. When you have an opportunity to provide something, give much more than is requested - go far beyond the recipient's expectations.
• Be polite. This sounds obvious but is often forgotten. Simple acts of etiquette go a long way. Use every opportunity to send a personal note or e-mail to say "thank you," "congratulations" or "it was a pleasure to meet you."
• Be aware of the other person's needs. When entering a relationship ask, "How can I help?" not "What's in it for me?"
• Bond with your dealer. Once a relationship is formed with a gallery, view it as an important partnership that must be nurtured. Reach out regularly and report creative progress. Express your willingness to collaborate on activities to increase sales and publicity for your work.
• Don't burn your bridges. If a relationship must terminate try your best to separate peacefully. (Remember what I wrote before about the art community being a game of musical chairs!)
• Increase your spirit of camaraderie. Reach out to other artists as allies, not competitors. Margaret Mead said, "Never doubt that a small group of thoughtful, committed individuals can change the world, indeed it's the only thing that ever has." The artists' organization offers the artist a place to share values, convictions, ambitions and solutions to common problems.

During these uncertain times of economic challenges it may be tempting to escape into a creative safe haven in your studio and withdraw from others. Undoubtedly the creative process offers healing and solace, however, we all need balance. As we reach out to others we enjoy the comfort of mutual support.