The AI did not actually create the art. The programmer gave the AI the ability and method for which to create the art, therefore the programmer is the artist and the AI is simply his brush.
Way to forget the fundamental theorem of computation on the equivalence of data and program.
Program: A few grad students over a few months, on top of program libraries composed by a few hundred grad students over a few decades, on top of general-purpose computational abstractions as devised by a few thousand notable wonks over a century, on top of a hundred primary patron saints of abstraction inscribing circles in the sand over roughly three millennia.
Data: Millions of artist years, as winnowed down by billions of critic years, to thousands of artist years, on top of human visual perception over the whole 60 million years of human evolution, and this not from a standing start.
I'm not 100% certain I trust this long historical wall to be less than entirely porous, but if I did, I'd declare: advantage, data.
This whole business of glorifying the last touch is a weird human institution to begin with. That's how you know the real future has finally arrived: in the sudden discarding of the forever unjustifiable, if only you've got the wits to see it.
This credit-to-the-last-touch business has always been tainted by the aggregate shoulders of giants.
Now that we've reduced stirring the aggregate down to a semester project in graduate school, we need to park this ridiculous cultural legacy, pronto.
Remember "information wants to be free"?
By the late 1970s—if you had the wits to see it—certain premises of our long standing copyright system were coming into fatal contact with a new reality, a future long past the original paroxysm that continues to arrive in sluggish fits and start:
Wall Street Journal To Cut Back Print Outside the US
As they say in cryptography, attacks only ever improve. This, too, of our generative-art adversarial networks. Unlike human talent, this isn't a flash in the Picasso pan. This is remix culture on steroids passing through the inception stage of a one-way function, up escalator.
I think I've posted this link before. It was one of my favourites, and good background for the present discussion:
Talking Machines interviews Doug Eck on Generative Art and Hamiltonian Monte Carlo — August 2016