Robertson attended Plymouth, Cardiff and Liverpool Colleges of Art in the UK before obtaining an MFA in Sculpture/Performance Studies at the University of Reading, England in 1971.
[4] As a critic he has published in: artscanada; Art and Artists; Centerfold; FILE; La Mamelle; Parachute; Only Paper Today; FUSE; C Magazine; Our Times; Remote Control; Parallelogramme; Inter; and High Performance.
Robertson began curating performance art and experimental musics in 1970 in Reading, England programming works by Stuart Marshall, Keith Wood, the Scratch Orchestra and the Portsmouth Sinfonia.
In the 1980s through to the 2000s Clive Robertson also curated projects for A Space, Toronto; Trinity Square Video, Toronto; SAW Gallery, Ottawa; Oboro, Montréal; Centre d'exhibition d'Amos, Québec; Modern Fuel and the Agnes Etherington Art Centre, Kingston; and M:ST (Mountain Standard Time Festival) in Calgary[7] In 2006 with Modern Fuel curator, Jenn Snider, Robertson co-organized a touring archival retrospective exhibition of his individual and collaborative projects, Then + Then Again – Practices Within An Artist-Run Culture 1969–2005.
[8] Clive Robertson's audio, installation, video, sculpture and performance works have been seen, heard and/or collected in many countries including England, Wales, Canada, U.S., Germany, Poland, France, Holland, Japan and Australia.
Performances include: 12,13,8,11 (1970); Air-To-Earth Parachute Jump (1971); Conversation Piece (at Corrugated Cardboard Products Ltd) (1971); A Year of..F (with Sue Clancy) (1972–73); The Sculptured Politics of Joseph Beuys (1975); In Video Traction (with Marcella Bienvenue) (1976); Explaining Pictures To Dead Air (1978); The Intervenors (with Janet Martin) (1982); In A Drunken Stupor (1983); The Ganser Syndrome (with Johanna Householder and Frances Leeming) (1987); The Sinking of The Gigantic (with Frances Leeming); Taschibosen – The Bridge (1991); Turning the Page (2002); The Confessional Archive Toolshed (2000); The Butler and The Secretary (with Germaine Koh) (2003); The Award (2014); and Flagging Peace (with Ciara Phillips) (2016).
(1983–86); Up To Scratch (with Craig Condy-Berggold) (1988); Trade Winds Canada Ltd (1994); A Grandmother and a Godfather: Kit Fahey and Joseph Beuys (2004); Il a cessé de l'aimer l'art aujourdhui (grace å George Jones) (2013); and I.O.60s (In Our Sixties) (2010–15).